Inside A.C.T.

By A.C.T. Publications Staff It’s 9:30 a.m., a cold December morning, and in one of A.C.T.'s 8th floor studios at 30 Grant, the second-year Master of Fine Arts Program actors are preparing to show off what they’ve learned in this semester’s Physical Theater class. The Commedia dell’arte masks are lined up on the table. The actors check their props. Upbeat music blares from the speakers. And seated in the front row are two dozen M.F.A. Program actors. M.F.A. Program Physical Theater class, 2015–16. Photo by Stefan Cohen. As the second years don the visages of old men, young lovers, and dithering servants, their fellow student actors cheer loudly and eagerly provide whatever the improvisations need: encouragement, audience response, even coffee cups. It is moments like this that show how closely knit the Master of Fine Arts Program actors are. No matter how many rehearsals, fittings, readings, and performances they have, they are always there for each other. This close-kn

By A.C.T. Publications Staff The winter holidays are traditionally a time to dress up warm. But for Lauren Molina and Nick Cearley of The Skivvies, it’s a time to strip down. In their latest show, The Skivvies: Holiday Roadkill , this award-winning comedy-pop duo literally strip down to their underwear and perform musical mash-ups of all your favorites, like “Baby, It’s Cold Outside” and “You’re a Mean One, Mr. Grinch.” So grab your eggnog and holiday sweaters and join us at The Strand! The Skivvies: Holiday Roadkill will be at A.C.T.’s Strand Theater, 1127 Market Street, on December 22 and 23. Click here to purchase tickets through our website .

By Michael Paller By 2004, A Christmas Carol was 28 years old, and the sets were showing their age. A significant investment would be required to refurbish them, which set Artistic Director Carey Perloff to thinking. Carol had more than served its purpose since 1976. Every year but 1994 and 1995, when the production was put on hiatus until The Geary reopened, many young Bay Area children—and parents—had their first theater experience watching Bill Paterson, Sydney Walker, Raye Birk, or Ken Ruta awake on Christmas morning a changed man. Now, however, Perloff wanted Carol to serve an additional purpose, featuring parts for students in the Young Conservatory, and roles for actors in M.F.A. Program who could add the mainstage experience toward earning their Actors’ Equity union card. A.C.T.'s 2009 production of A Christmas Carol . From the left: Ren é Augesen, Gregory Wallace, James Carpenter, Calum John, and Philip Mills.  Photo by Kevin Berne. Perl

By Michael Paller In the mid-1970s, regional theaters around the country discovered that audiences wanted a Christmas story at Christmastime, and none more so than Dickens’s A Christmas Carol . Adaptations began appearing, starting with the Guthrie (1974) and the Actors Theater of Louisville (1976). Artistic Director Bill Ball asked Company Director Laird Williamson to look at the handful of existing adaptations and choose one to direct. Williamson found them sentimental and clichéd. They were “sugar-coated Dickens,” he said. “Tiny Tim is not the leading character. Scrooge is the real story.” The cast of A.C.T.'s 1981 production of A Christmas Carol . Williamson was drawn to the tale’s psychological and social realism, to its “comment on poverty and the inequality of the classes.” He suggested that he and Dennis Powers, the company’s literary jack-of-all-trades, do their own version. Ball agreed. Determined not to produce an animated Christmas card, their version would hew

By Elspeth Sweatman Ever wondered how A.C.T.’s costume and wardrobe departments maintain over 200 costumes during the course of A Christmas Carol ? We met up with Costume Director Jessie Amoroso for an inside look into the life of a Carol costume. A rack of A Christmas Carol costumes. Photo by Elspeth Sweatman. What is the path of a costume like during the run of the show? Everything is labeled, down to the nth degree: every sock, shoe, glove, and bonnet. Everything is also listed on a dressing list, that shows where every costume should be at any given moment, whether it’s preset, put in a dressing room, taken off onstage, taken off stage right or stage left, or put in a basket to go back to a dressing room or down to be cleaned. It also lists the costumes that are taken off stage right but need to be carried over to stage left so that the actor can put it back on later in the show. The actors who wear the big 1860s hoop skirts change out of them and become a miner or gang

By Elspeth Sweatman “The more you dare to dive into what is deeply personal,” says OBIE Award winner Martin Moran about creating and performing solo work, “the more you just come out the other side. It’s not you at all. It’s just human. And it’s amazing.” Moran—a former student in A.C.T.’s Advanced Training Program (the forerunner of the M.F.A. Program)—is currently performing his two one-man shows The Tricky Part and All the Rage in repertory at A.C.T.’s Strand Theater. On a rainy afternoon, he sat down with current M.F.A. Program actors in The Costume Shop to discuss the thrilling—and sometimes nauseating—process of creating, editing, and performing your own material. “There’s a real loneliness to writing, and there’s a great loneliness to solo work,” says Moran. “But in the form that I’m working with, the direct address, my partner is the audience, and that is incredibly joyous.” M.F.A. Program Actors, Dramaturg Michael Paller, and Martin Moran. Photo by Elspeth Sweatma

By Stephanie Wilborn  In The Rueff, students from Downtown High School (DHS) are pacing back and forth, memorizing lines, and putting up lights in the rafters. After months of preparation and hard work, they are putting the finishing touches on their exhibition, A Mask I Do Not Fit , a collection of original works on topics of gender and identity. DHS Movement Class 2016. Photo by Stephanie Wilborn. Since 2012, A.C.T. has collaborated with DHS to explore educational opportunities through theater. The school’s Acting for Critical Thought project allows the students to learn and discover thought-provoking performances through acting, playwriting, and movement. At the beginning of the semester, the DHS students came to A.C.T. once a week and studied acting techniques with A.C.T.’s Community and Artistic Director Tyrone Davis. Together, the students and Davis built a trusting relationship through improv and ensemble-based games. They learned theater terminology and

By A.C.T. Publications Staff A.C.T. audiences have taken Martin Moran to their hearts. The Broadway actor and writer opened his repertory performances of All the Rage and The Tricky Part last week, and theatergoers have risen to celebrate him both during the show and in the lobby afterward. Martin Moran in All the Rage . Photo by Joan Marcus. To give audiences a better opportunity to talk about the ideas and emotions which Moran’s work generates, we’ve added two Audience Exchanges this week. Moran will follow the performance of All the Rage on Wednesday, December 7 with an onstage conversation with A.C.T.’s Artistic Director Carey Perloff and will follow the performance of The Tricky Part on Saturday, December 10 by speaking with Associate Artistic Director Andy Donald. The two shows have also had critics buzzing. While the San Francisco Chronicle picked out Moran’s “thoughtful and articulate” approach, Theater Dogs said, “You’ll be thinking about [Moran] and feeling hi

By Ken Savage and Elspeth Sweatman This time of year, the airwaves are filled with classic songs like Bing Crosby’s rendition of “ White Christmas ” and Vera Lynn's rendition of “ I’ll Be Seeing You .” But for Ken Savage, the director of Sing, Sing, Sing —A.C.T.’s Master of Fine Arts Program upcoming music revue — these songs from the 1930s and ’40s are more than just a reminder of the holiday season. They highlight an important shift: in popular music and in the lives of US citizens. "The music of Bing Crosby, Ella Fitzgerald, the Andrews Sisters, Frank Sinatra, Billie Holiday, Vera Lynn, Judy Garland: it’s the beginning of really simple but sophisticated storytelling through music," says Savage. "It’s the best music out there. It’s the music I grew up on. I learned how to sing through it. Artwork for M.F.A. Program 2016 Musical Revue   Sing, Sing, Sing . By Sara Morales.  "The period from 1933 to 1947 that we chose for this musical revue h

By Simon Hodgson Growing up in 1970s Denver, teenager Martin Moran looked like a poster boy for Catholic school—a kid with good grades, clean fingernails, and a smile for everyone on his paper route. Inside, however, Moran was grappling with the conflicting shame and thrill of a relationship with his male 30-year-old camp counselor, Bob. “Sometimes I felt scared and I liked it,” Moran says in his memoir, The Tricky Part . “All the concealment was a kind of strange power. An entire and buzzing inner life. A fourteen-year-old boy on a three-speed Raleigh, getting it every which way. I was getting away with murder, with pleasure, with crimes, and I was pulling A’s.” Martin Moran in All the Rage . Photo by Joan Marcus. Moran went on to become a successful actor, with Broadway credits including Spamalot and Cabaret , and television appearances on The Newsroom and Law & Order . He is also a writer, whose OBIE Award–winning show The Tricky Part (based on his memoir) describes

Original Costume Sketch of the Ghost of Christmas Present. By Costume Designer Beaver Bauer. This interview is adapted from the Christmas Carol edition of Words on Plays , A.C.T.’s in-depth performance guide series. Along with the curmudgeonly Scrooge and the adorable Tiny Tim, the ghosts of Christmas Past, Present, and Future are the most well-known and loved characters in Charles Dickens’s A Christmas Carol . But how do you translate these larger-than-life entities on to the Geary stage? Carey Perloff, A.C.T.’s artistic director and the co-writer of this adaptation of A Christmas Carol , offered her insight on Dickens’s seasonal spirits in this 2010 Q&A. What was your inspiration for the three ghosts in this adaptation of A Christmas Carol ? I wanted them to be otherworldly spirits, filled with light, and not like ordinary humans. Their locomotion is different: they swing and rise up on elevators; they hang above like specters. What can you share about the ghost of

By Elspeth Sweatman Making a new dress for 2016 production  of A Christmas Carol . Photo by Elspeth Sweatman. For ten months of every year, A.C.T.’s A Christmas Carol costumes are hidden away in the costume shop: all 200-plus costumes, including thousands of shoes. It is Costume Director Jessie Amoroso’s job to guide his team through the month-long sprint to get this Bay Area holiday classic onto the Geary stage once more. We caught up with him between costume fittings to get a glimpse into the preparations for this A.C.T. staple. When does the process for Carol start here in The Costume Shop? We usually have about four or five weeks once it’s cast to fit everyone and get everything ready. That’s at least fifty hours of fittings over two weeks. Do you create any of the costumes from scratch each year? We usually create one or two new pieces. This year we’re making two new dresses, which are always fun to make. Are the costumes for our two Scrooges the same? Everythi

By Elspeth Sweatman  Fellows Emilianne Lewis and Joseph Reyes Decorating The Geary.  Photo by Karen Loccisano. Today, some of A.C.T.’s 2016–17 fellows participated in one of the most cherished rituals in the company’s calendar—decorating The Geary Theater for the holiday season and A.C.T.’s production of A Christmas Carol . After fueling up on pastries and hot cocoa, fellows Emilianne Lewis, Karen Loccisano, Julia Ludwig, Joseph Reyes, Elspeth Sweatman, and Marcella Toronto donned their holiday hats, turned on the carols, and set to work hanging wreaths, placing garlands, and untangling yards and yards of lights. Two hours later, The Geary had been transformed into a winter wonderland that even Scrooge would love. From Fred's Bar to the lobby to the Sky Bar, not an inch was left without a little holiday sparkle. "Decorating The Geary this morning with the other fellows definitely brightened my day and got me into the holiday spirit," says Special Events Fello

By Elspeth Sweatman Not only does Tom Stoppard’s newest play The Hard Problem —now playing at The Geary Theater through November 13—delve into the murkiness of consciousness and brain science, but it also presents a unique challenge for the set designer. How do you visualize consciousness? How can you represent it on the stage? “What I said to scenic designer Andrew Boyce was that I wanted the set to look like consciousness, not neuroscience,” says director Carey Perloff. “So we looked at the most beautiful science building that I think has ever been built: the Salk Institute in San Diego.” The Salk Institute. Photo by Justin Brown. Courtesy of Flickr. Built in the 1960s by architect Louis I. Kahn, the Salk Institute for Biological Studies is comprised of two mirror-image structures either side of a central courtyard. Made out of concrete and wood, these geometric structures create a temple of science on the shore of the Pacific. One of the institute’s most

By Shannon Stockwell and Elspeth Sweatman “Since the very beginning, Tom Stoppard has written about what is the nature of goodness and is there such a thing as value ,” says The Hard Problem director Carey Perloff. “What are human values? How do we express ourselves as human beings? Is there such a thing as goodness, as altruism?” Altruism is at the center of Stoppard’s The Hard Problem , running at The Geary Theater through November 13. The term altruism—from the Latin alter , meaning “other”—was coined by French philosopher Auguste Comte in the nineteenth century. He wanted to create a religion based on a belief in science, rather than God. To Comte, to be altruistic meant simply to live for others. Dan Clegg and Brenda Meaney in A.C.T.'s 2016 production  of The Hard Problem . Photo by Kevin Berne. Since then, the concept of altruism and its counterpart, egoism, have become a hot topic of debate in a wide array of fields, from philosophy to biology to economics. The

By Elspeth Sweatman Brenda Meaney as Hilary in A.C.T.'s 2016 production  of The Hard Problem . Photo by Kevin Berne. During A.C.T.’s 50th-anniversary season, strong women are navigating their way through traditionally male-oriented spaces. In Tom Stoppard’s The Hard Problem , running through November 13, psychologist Hilary Matthews fights to find her place in a scientific world that frowns upon the “feminine” emotions of mother love, goodness, and faith. Hilary is an oddity in neuroscience: a person who believes in the power of faith as well as the power of science. This worries her university tutor Spike, who fears that this will sink her chances of an academic career. “She has what he thinks are childish notions about the self, about consciousness, and about belief,” says director Carey Perloff. But Hilary’s faith is grounded in a pivotal event in her past: when she was a teenager, she gave up her baby for adoption. To cope, she turned to her faith in the

By Simon Hodgson “Every single play that I pick up has its own accents,” says A.C.T.’s Co–Head of Voice and Dialects Nancy Benjamin. “The actors, the director, and the coaches have to figure out what that accent is and do it authentically.” Before she started working on Stoppard’s The Hard Problem —playing until November 13 at The Geary Theater—we sat down with Benjamin to talk about acting and accents. Nancy Benjamin works with M.F.A. Program actors Emily Brown, Alan Littlehales, and Albert Rubio. Photo by Alessandra Mello. How important are the accents in The Hard Problem as an identifier of character? Accents and dialects help us understand the culture of the play, the environment, the status of the characters, their education, their place of origin, and how they identify themselves. Specifically with The Hard Problem , once I understand where the character comes from, their age, and their level of education, then the accent or dialect comes from that. Our accents, our w

By Elspeth Sweatman A zombie. By Pixabay. Courtesy of Wikimedia Commons. Imagine someone who looks exactly like you, dresses like you, walks like you. He says the same things you would say, answers questions with the same answers, and makes decisions using the same logic. His body is built in the exact same way. His brain is a mirror image of yours. The only thing he is missing is consciousness. Meet the philosophical zombie. When philosophers talk of zombies, they aren’t thinking of shuffling Halloween humanoids that will eat your brain. They mean something much more frightening. Something that’s being debated every night at The Geary, in A.C.T.’s production of Tom Stoppard’s The Hard Problem . If you met a philosophical zombie in the street, would you be able to tell the difference? Philosophers argue that you wouldn’t. But could these zombies be real? If they are real, then consciousness and the brain must be separate. And if that is so, then how did we get consciousness