The Cast of Small Mouth Sounds Recalls Their First Performances

Friday, December 8, 2017

By Taylor Steinbeck

Though Small Mouth Sounds is closing at The Strand this weekend, over at The Geary Theater, performances of A.C.T.'s annual production of A Christmas Carol are just beginning. In Carol, 29 members of the cast are made up A.C.T.'s Young Conservatory students, with many of these young actors making their professional acting debut. To celebrate its opening tonight, we reached out to some of the Small Mouth Sounds cast to find out about their first memories of performing.

Judy (Cherene Snow) and Joan (Socorro Santiago) share a moment in A.C.T.'s production
 of Small Mouth Sounds. Photo by T. Charles Erickson.
Ben Beckley (Ned): There are recordings of me acting out fairy tales with my grandmother when I could barely talk, but my first vivid memory of performing was the exit applause I got in the sixth grade as the Artful Dodger in a straight adaption of Oliver. That, and a mildly disastrous middle school production of Antigone the same year.

Cherene Snow (Judy): My first performance was in kindergarten in Little Red Hen, but only my mother remembers this. After acting in my first film—Cooley High (1975)—I knew I wanted to be a performer for the rest of my life.

Connor Barrett (Jan): In middle school, my class co-wrote a play with our amazing teacher, Mr. James Sylvia and we got to perform it. It was either an homage to Noël Coward, or we just heavily ripped him off.

Edward Chin-Lyn (Rodney): My first memory of performing was as a narrator in an elementary school play. I froze onstage and ran off—I was a shy kid. I later found my way into acting during college after taking an introduction to acting class as my arts elective.

Socorro Santiago (Joan): I was seven years old, performing Abbott and Costello skits on the street with my sister.

Orville Mendoza (Teacher): I started singing in church when I was six or seven. There was a Christian acting troupe that came to our church and they needed a boy to play Isaac in the recreation of Abraham and Isaac. I was chosen. The acting bug bit me!

A.C.T.’s production of Small Mouth Sounds ends this Sunday, December 10, at The Strand Theater, 1127 Market Street. Click here to purchase tickets through our website. Want to learn more about the production? Order a copy of Words on Plays, A.C.T.'s in-depth performance guide series.

Comedian Colin Quinn to Deliver Laughs @TheStrand

Tuesday, December 5, 2017

By A.C.T. Publications Staff

In need of some laughs to ease the stress of this holiday season? Funnyman Colin Quinn has got you covered. The former Saturday Night Live cast member will be bringing his latest one-man show, One in Every Crowd, to A.C.T.’s Strand Theater for five performances running from December 14–17.

Artwork for Colin Quinn: One in Every Crowd.
Quinn’s appearance at The Strand will be his only West Coast stop during his 2017–18 North American tour, which will have him performing across the US and Canada. The New York native is returning to the road after taking a seven-year break to write and perform comedy shows for Broadway audiences. His most recent show, The New York Story, was directed by Jerry Seinfeld and was released on Netflix in 2016. To get a feel for Quinn’s unique brand of comedy, take a look at the trailer for his Netflix stand-up special below.


Equipped with razor-sharp wit and an eye for observational humor, Quinn’s smart jokes and engaging stories are sure to entertain. This season Quinn isn’t the only acclaimed comedian performing in A.C.T.’s @TheStrand series. Three-time Emmy Award winner Louie Anderson will also be presenting a limited engagement this January. With these two comics coming to The Strand this winter, San Francisco is about to be served up some serious laughs.

Colin Quinn: One in Every Crowd
runs December 14–17 at A.C.T.’s Strand Theater, 1127 Market Street. Click here to purchase tickets through our website.

The Man Behind the Magic: An Interview with Carol Scenic Designer John Arnone

Friday, December 1, 2017

This interview is adapted from the Christmas Carol edition of Words on Plays, A.C.T.’s in-depth performance guide series.

A dazzling treat for the eye, A.C.T.’s annual production of A Christmas Carol has become a Bay Area holiday tradition over its 13-year run. We looked back at our 2010 Q&A with Carol scenic designer John Arnone to find out what inspired the set’s beautiful and haunting visuals.
The concept sketch for the set of A.C.T.'s Christmas Carol. By John Arnone.
How did you approach designing the set?

As a team, we discussed the town and its atmosphere, the context for the piece, which is Dickens’s London. We wanted to convey the feeling of the congestion and the industrialization, as well as the paranoia and fear. Then we discussed the interiors, and the fact that there is only one interior that is real: Scrooge’s bedroom. It’s very claustrophobic, which I think is a metaphor for how dark Scrooge’s life has become.

How did you get the idea for the Ghost of Christmas Future as a puppet?


You never see [Christmas Future] in full detail, so you never really know what you’re looking at. It’s more of a frightening, hovering presence, and it serves as a sort of host for the last part of the production, which is what we call the “nightmare sequence.” Christmas Future became a part of the scenery—it is surreal and otherworldly and larger than life.

The set model looks very colorful, though.

The town does look colorful, but it’s also very dark. We were looking at some artistic techniques, such as watercolor, that could be abstract, dreamlike, and impressionistic—and also somewhat frightening.

Set model for the "nightmare sequence" of A Christmas Carol. By John Arnone.
Can you talk about the “vortex” part of the nightmare sequence?

Yes, the vortex is a painted drop, on which the lighting designer will project a sort of spinning gobo [a thin patterned metal disk placed in a spotlight and projected onto the stage, creating shadow effects], so that the audience’s point of view will become somewhat disoriented. There’s a scenic net of gravestones that match the gravestones on the ground. They will become animated, and the lights will start to strobe, so that it looks like they’re flying through the air. The overall effect is of vertigo and disorientation.

After the nightmare sequence, we have about 20 seconds to set up the town and restore everything onstage for the last scene of the play. The [backstage] crew never stops, not even during intermission. Once they begin, it will be like choreography for the four people who are operating the show. And it is really is up to them to make the show happen every night.

Come celebrate the holidays with us! A.C.T.'s production of A Christmas Carol runs December 1–24 at The Geary Theater. Click here to purchase tickets through our website.

Masters of Merry-Making: Returning YC Actors in Carol Part One

Tuesday, November 28, 2017

By Elspeth Sweatman

The Christmas Carol cast is filled with veterans of the Geary stage, from Scrooge to Tiny Tim. Every December, A.C.T. stalwarts James Carpenter and Anthony Fusco (our Scrooges), as well as original company member Ken Ruta (Jacob Marley), share the stage with several Young Conservatory actors who are performing in the show for the fourth or fifth time. With performances beginning this Friday at The Geary Theater, we reached out to five of our returners—Alejandra Zavala (11 years old), Mattea Fountain (12 years old), Maximilian Wix (12 years old), Pilar Rivas (11 years old), and Seth Weinfield (13 years old)—to ask about their Carol experiences. This is Part One.

The Young Conservatory actors of the 2016 production of A Christmas Carol.
How have you changed as a person throughout your three seasons in A Christmas Carol?

Alejandra Zavala: I am more confident and comfortable because now I feel like I know what I am doing. I am a much more focused person than I was in second grade (when I started acting at A.C.T.). I feel like now I understand what my acting teachers expect of me and that I can now fulfill their expectations.

How have you grown as a performer?

Seth Weinfield: The first time I was in Carol, I didn’t know how to project my voice as well as I can now. I’d never performed in a theater that big. Now I’m comfortable performing in front of a thousand people.

What is your favorite part of the show?

Maximilian Wix:
My favorite part of the show is the Cratchit dinner because it shows the poverty of Victorian London, and a family coming together to express gratitude for what little they have. They may not have much, but they are excited to have everyone together to enjoy a Christmas feast.

What has been the most challenging part of being in the show?


Pilar Rivas:
I think the most challenging part of being in the show is saying goodbye to everyone I’ve met, even if I get to see them again next year.

What have you learned by being in A Christmas Carol?

Mattea Fountain: Even though I am not a big person, I have learned that I can make a big impact on how others feel. Performing in A Chirstmas Carol for many years, I’ve learned from the adult actors and the M.F.A. Program actors how the professional acting world works and that playing isn’t just for kids.

Come celebrate the holidays with us! A.C.T.'s production of A Christmas Carol runs December 1–24 at The Geary Theater. Click here to purchase tickets through our website.

Meditation: There's an App for That

Tuesday, November 21, 2017

By Taylor Steinbeck

In Small Mouth Sounds—now playing at The Strand Theater—six people longing to reconnect with themselves and their surroundings embark on a five-day silent retreat. While there, they practice mindfulness under the guidance of an unseen teacher, who encourages them to embrace stillness. There are many benefits of taking a moment to breathe and recharge, but you don’t have to leave on a retreat to experience this peaceful state. What if we told you that you can have access to your very own meditation guru right from your smart phone? In anticipation of A.C.T.'s Tech Night next week, we put together a list of our top three favorite meditation apps.

Headspace's interface. Art by Chris Markland.
Headspace: This user-friendly guided meditation app offers a 10-day beginner’s course that guides its users through the basics of meditation and mindfulness using charming, colorful animations. Small Mouth Sounds actors Orville Mendoza (Teacher), Connor Barrett (Jan), and Ben Beckley (Ned) have all used this app throughout their time with the production and highly recommend it.

Simple Habit: Based here in San Francisco, Simple Habit’s meditation app is designed for busy people, offering audio-guided meditations as short as five minutes. The app hosts sessions led by multiple teachers, so if you prefer one teaching style to another, there are options available. There are also specific meditations designed for your particular mood or situation that day, exploring topics like stress, self-esteem, and relationships.

Simple Habit's interface. Courtesy of Simple Habit.
Insight Timer: For the more experienced meditator, Insight Timer times your self-guided meditation session and provides a customizable library of chimes and bells to use throughout it. Once you’ve finished your daily session, the app logs it, so you can track your progress.

Interested in learning more about the intersection between tech and mindfulness? A.C.T. is hosting a Tech Night that will begin with a happy hour at The Strand Theater's bar before the November 28 performance of Small Mouth Sounds. Following the show, there will be a panel discussion exploring how technological innovation has impacted the mindfulness industry. Click here to find out more information about this InterACT event.

Small Mouth Sounds runs until December 10 at A.C.T.’s Strand Theater, 1127 Market Street. Click here to purchase tickets through our website. Want to learn more about mindfulness and the production? Order a copy of Words on Plays, A.C.T.'s in-depth performance guide series.

A Trip to the Meditation Room

Monday, November 20, 2017

By Taylor Steinbeck

At 8:55 a.m. this morning, I set out to track down one of the few peaceful spots in the hustle and bustle of San Francisco’s Financial District: WITHIN Meditation. WITHIN’s meditation studio offers 30-minute guided meditation sessions focusing on mindfulness—the practice of being conscious of the present moment. Like the characters in Small Mouth Sounds, I had some trouble embracing stillness at first (especially since I had never meditated for more than ten minutes before). 

WITHIN Meditation. Photo by Taylor Steinbeck.
When I arrived at the meditation room, I slipped out of my shoes and plopped down onto one of the cushions. A group of other meditation newbies filed in. Our teacher, Hannah Knapp (also WITHIN’s co-founder), began the session by asking us to close our eyes and listen to our surroundings. Located on Sansome Street, WITHIN’s cozy studio is tucked between busy alleyways, so whenever a bus passed, the thin walls shook. Initially, I found this off-putting, but Hannah instructed us to welcome the noise: “Let the sounds wash over you like a wave.”

Just as I was beginning to find myself immersed in my environment, I was brought back to my body when my stomach let out a gurgle. I hadn’t eaten breakfast. Another distraction came in the form of a latecomer, who scurried into the room a few minutes into the meditation, not unlike Alicia’s tardy appearance at the retreat in Small Mouth Sounds. As I started to worry that I had lost hold of my meditation mojo, Hannah reminded us, “If your mind wanders, just gently bring it to your breath.” Inhale. Exhale. Back in the zone.

Hannah asked that we set an intention for the day. In Small Mouth Sounds, the six characters also set an intention for their five-day retreat. In the play, the teacher defines an intention as “a mantra. Your private wish. A hope for yourself.” For that day, my intention was to accept joy and to observe the beauty around me. As we breathed and thought on our intentions, Hannah said again and again: “Breathe into your intention. Breathe out what does not serve you.”

The cast of A.C.T.'s 2017 production of Small Mouth Sounds. Photo by T. Charles Erickson.
With the ding of the meditation chime sounding the session’s end, we slowly opened our eyes, departing from our meditative states. Hannah thanked our group for choosing to start the day with stillness, and one by one we left the studio. When I returned outside to the busy streets of Downtown San Francisco—amongst the shoving and the honking and the jackhammering—I felt a sense of serenity I'd never experienced in the city.

Interested in experiencing meditation for yourself? A.C.T. is hosting a free meditation workshop led by Spirit Rock meditation Center teacher Dawn Scott. This InterACT event will be held in The Rueff at The Strand following the December 3 matinee performance of Small Mouth SoundsClick here to find out more information.


Small Mouth Sounds runs until December 10 at A.C.T.’s Strand Theater, 1127 Market Street. Click here to purchase tickets through our website. Want to learn more about mindfulness and the production? Order a copy of Words on Plays, A.C.T.'s in-depth performance guide series.

This Is Your Brain on Meditation

Friday, November 17, 2017

By Shannon Stockwell

Meditation is having its heyday in the Western world these days. Many people, from sports figures (Seattle Seahawks coach Pete Carroll) to CEOs (Oprah Winfrey), espouse the benefits of taking a few moments out of each day to breathe, be still, and be in the moment. There are several reasons why people turn to meditation. In fact, mindfulness—the practice of being aware of one’s self and surroundings—has so many supposed benefits, it might seem at first glance to be nothing more than a pseudoscientific fad. But researchers around the world have been studying meditation using scientific methods and have made some surprising and convincing discoveries about its effectiveness, particularly the way that it can cause physical changes in the human brain.

Monk Barry Kerzin meditating with an electroencephalogram for neuroscience research.
Photo by Antoine Lutz. Courtesy Wikimedia Commons.
In 2003, a group of scientists led by University of Wisconsin–Madison psychologist Richard J. Davidson performed a study on a group of 25 people who took part in an eight-week mindfulness course. Their brain activity was measured before and after the course. The 25 participants were compared to a control group which was measured at the same times. The scientists discovered that the meditators had significant increases in a process called “left-sided anterior activation,” which is associated with an increase in positive emotions. This may be why meditation is such an effective treatment for mental illnesses that are marked by a decrease in positive emotions.

Meditators have also claimed that their mindfulness practice has contributed to lower levels of stress. A 2013 study done by researchers in Pennsylvania found that the amygdala (two almond-shaped groups of nuclei located in the inner part of both hemispheres of the brain) shrinks in the brains of meditators. When faced with a stressful situation, the amygdala sends messages to the body, instructing it to release hormones (such as adrenaline) that cause the “fight or flight” response. It may be that the more robust the amygdala is, the more powerful the response. In meditators, however, the amygdala tends to be smaller, which might mean that they are better able to allow the more rational parts of their brains to control their responses to stressful situations, allowing meditators to remain calm under pressure.

Also investigating the connection between meditation and serenity, a group of researchers led by UCLA neuroscientist Dr. Eileen Luders studied the brains of a group of 44 meditators. Luders and her researchers discovered greater amounts of gray matter in the right orbital-frontal cortex and the right hippocampus. Both of these regions are associated with emotional regulation and response control, offering a physical explanation for why meditation helps practitioners to remain calm and positive.

Meditation, therefore, seems to have a positive effect on mental health. Why can't we know for certain? Because, when all is said and done, we still don’t quite understand exactly how the brain works. But maybe the connection between meditation and the brain can provide a clue.

Small Mouth Sounds runs until December 10 at A.C.T.’s Strand Theater, 1127 Market Street. Click here to purchase tickets through our website. Want to learn more about the neuroscience of mindfulness and the production? Order a copy of Words on Plays, A.C.T.'s in-depth performance guide series.

Art Imitating Life: Mindfulness and the Cast of Small Mouth Sounds

Tuesday, November 14, 2017

By A.C.T. Publications Staff

For the seven actors in Bess Wohl’s Small Mouth Sounds, the line between their characters and themselves is easily blurred. “What’s wonderful about Bess’s play is that the actor and the character are charged with the same challenge,” says Brad Heberlee, who played Ned in the 2016 off-Broadway production. “Each character has ostensibly come to the retreat to listen and be present to the lesson of the Teacher, and at the end of the day, the actors [in the production] are there to achieve the same goal.”

Ben Beckley as Ned in A.C.T.'s production of Small Mouth Sounds.
Photo by T. Charles Erickson.
That sense of being in the moment is critical to mindfulness in acting. This awareness asks performers to be wholly engrossed in what they are doing in that exact moment. Small Mouth Sounds director Rachel Chavkin echoes this idea. She believes that many actors forget how riveting it can be to just “be” onstage. “Trust the silence and be present,” she says. “That’s compelling.”

A.C.T.’s production of Small Mouth Sounds is the second stop on a seven-month tour of the show, which has presented challenges and opportunities for the actors. Many actors aren’t given the chance to stay with a character or a cast for such a long amount of time. This length of time enables an actor to dive deep into their character, but it also requires a certain headspace to keep a role fresh each night for several months. “This is a challenging show. It’s different every night,” says Ben Beckley, who plays Ned on the 2017–2018 tour. “I write an intention for every performance to stay grounded. Every day our cast is listening to each other—and like the characters—trying to stay present while different things are emotionally resonating with us.”

For Orville Mendoza, who plays the retreat’s unseen teacher, performing in Small Mouth Sounds has helped to put him more in touch with his meditative side. “I’ve really delved into learning about meditation and mindfulness,” he says. “First it was only research, but now I’ve discovered the real benefit it gives me day to day.” Before each show, Mendoza meditates in the backstage sound booth where he performs his voice-overs during the play. “It feels like a cocoon and I treat it like a sacred space,” says Mendoza.

Connor Barrett as Jan in A.C.T.'s production of Small Mouth Sounds.
Photo by T. Charles Erickson.
It’s all about the journey for Connor Barrett, who plays Jan in A.C.T.’s production. “What’s most exciting about being a part of this play is getting to see how our storytelling will deepen over these next five months,” he says. “I’ve never done a play for this amount of time, so I think it’ll be a great challenge and I feel lucky to get to do that with this particular group of people. To me, Small Mouth Sounds is not just a play—it is a ritual.”

Small Mouth Sounds runs until December 10 at A.C.T.’s Strand Theater, 1127 Market Street. Click here to purchase tickets through our website. Want to learn more about mindfulness and the production? Order a copy of Words on Plays, A.C.T.'s in-depth performance guide series.

Transcendental Meditation in the Halls of A.C.T.

Thursday, November 9, 2017

By Michael Paller

William Ball, founder and first artistic director of A.C.T., had a metaphysical side and was drawn to techniques of meditation for both spiritual and practical reasons. At the all-company meeting that opened the 1982 season and school year, he spoke about the light inside each student. That light was guarded by fear, which had to be overcome before the light—the source of their individual talent—could shine. “Fear is an illusion,” he said, “it is non-productive, it is non-meaningful to us and since it is . . . not a help to us we supersede it. In overcoming a fear we have to trust that nobody is going to hurt the sensitiveness of that light. . . . We create standards of self-discipline that will cause us to respect that sensitivity.”

William Ball. Photo by William Ganslen. 
Part of that self-discipline was Transcendental Meditation (TM), which had been brought to the West by the Maharishi Mahesh Yogi in 1959, and popularized by the Beatles in 1968, just after A.C.T. arrived in San Francisco. Everyone at A.C.T., from students to company members to staff, was encouraged to take up TM.

For Ball, TM was not only a way to dissolve fear and other barriers to creativity, it was also a practical technique for actors. Experiencing stressful emotional situations, Ball told the students, is what an actor does. However, unlike a musician, who can put her instrument down and walk away when she’s done, an actor is often left with the stressful emotions she experienced while performing. TM, Ball said, enabled actors to purge those emotions. “Meditation is a technique that will free you of the encumbrance of accumulated stress. That’s why we introduce it as an acting technique.” It had the added benefit, he believed, of adding to one’s quality of life.

To that end, a room on the fifth floor of the company’s headquarters across the street from The Geary was dedicated to meditation. No work was to be done there, Ball told the students; it was strictly for meditation and rest. Everyone at A.C.T. was encouraged to try it. Many found it beneficial and continued to practice it long after leaving the company. Others were less taken with what they regarded as its cultish aspects, including the practice of placing an offering of a flower and a piece of fruit on an altar during the earnest ceremony in which each participant received a mantra from the TM instructor.

Judy (Cherene Snow) reads her partner Joan's mantra in A.C.T.'s production of Small Mouth Sounds.
When an instructor refused an actor’s request to change his mantra, stage manager Jim Haire (who eventually became the company’s producing director) rebelled. He announced to the instructor that he’d taken it on himself to change his mantra to “tiko-tiko”—the title of the Brazilian song that became an American pop hit in the 1940s, sung by Carmen Miranda and the Andrews Sisters. The instructor was appalled. The company was amused. There is no record of Ball’s reaction.

Small Mouth Sounds runs until December 10 at A.C.T.’s Strand Theater, 1127 Market Street. Click here to purchase tickets through our website. Want to learn more about meditation and the production? Order a copy of Words on Plays, A.C.T.'s in-depth performance guide series.

Know Before You Go: A Brief Audio-Visual Look into the World of Refuse the Hour

Wednesday, November 8, 2017

By Taylor Steinbeck

William Kentridge's multimedia chamber opera, Refuse the Hour is a rush for the eyes and ears. The sounds of African drum beats, vocalists, and giant metronomes play in tandem with dancers, animation, and video, as the man himself muses on theories of time, relativity, and myth through a spoken-word performance. New York Times writer Vivien Schweitzer describes the show as "fascinating and overwhelming." Before experiencing it all for yourself at The Geary Theater this weekend, learn more about the fascinating world of Refuse the Hour below.

This 2016 Bloomberg interview with Kentridge offers insight into the artist's process, biography, and ouevre.


In this bite-size lecture, Peter Galison—Refuse the Hour's dramaturg and renowned Harvard physics professor–discusses Albert Einstein's theory of relativity, which was one of Kentridge's key inspirations.



Featuring a score by Philip Miller, Refuse the Hour is the companion piece to Kentridge's 2012 five-channel video installation, The Refusal of Time, to which Miller also composed the music. Get a feel for Refuse the Hour's sound by listening to the soundtrack for The Refusal of Time.



Less than a mile away from The Geary is another work of art by Kentridge. On the sixth floor of the San Francisco Museum of Modern Art lives Preparing the Flute (2005), a model theater that uses video projection to make the miniature set come alive. We recommend a visit to this small stage before watching The Geary travel through time in Refuse the Hour.

Refuse the Hour runs November 10–11 for three shows only at The Geary Theater. Click here to purchase tickets through our website.

M.F.A. Second-Year Actors Stretch Their Skills with The Changeling

Monday, November 6, 2017

By Taylor Steinbeck

Love. Lust. Murder. Morality. These are just a handful of themes that the seventeenth-century tragedy, The Changeling, takes on over the course of five acts. Written by Thomas Middleton and William Rowley, this complex classical text was handpicked for the M.F.A. Program’s Class of 2020. “Revenge tragedy is not about dry wit—it’s really visceral” says Conservatory Director Melissa Smith. “This class of actors has the emotional range and the temperaments to tackle this play.” Opening at The Rueff this Thursday, The Changeling is sure to challenge its talented performers to rise to the occasion.

Show artwork for the M.F.A. Program's production of The Changeling
Director Nancy Benjamin, A.C.T.’s head of voice and dialect, is well aware of the intricacy of the language. “Working with classical text and its heightened, poetic, rhetorical language is an enormous challenge for any actor,” says Benjamin. “The dexterity, precision, and energy required to deliver the complex thoughts and passions of these sweeping stories takes time and practice to develop.” Second-year actor Ash Malloy—who plays the show’s lead, Beatrice—is more than ready to stretch her acting muscles. “It's been really exciting to work on a character who has such a fantastic range,” says Malloy. “Beatrice possesses an arc an actor rarely gets. She’s this incredible pseudo-hybrid of Juliet and Lady Macbeth.”

The process of mining The Changeling’s text has not only been beneficial to Malloy’s craft, but has also tested her as a student. With rehearsals requiring extensive script analysis, the production has proven an enriching educational opportunity for the M.F.A. actors. “I have learned so much about the power of language,” says Malloy. “Classical language has a forward momentum that can drive a plot at 100 miles an hour. And unlike contemporary scripts, there is no subtext in classical text. It feels vulnerable to allow everything to live above ground—it’s unforgiving—but I think it’s making me a better actor.” 

Though The Changeling was penned over 400 years ago, many of its ideas still resonate today. “The play is about reckless, selfish people in power behaving badly,” says Benjamin. “How fitting for our time, when it feels as if ego, not vision, is governing our lives and impacting our futures.” Similarly, Malloy hopes that theatergoers will leave The Strand reflecting on the consequences of the characters’ immoral actions, and what they would have done in similar circumstances. “We want audiences to recognize the cost of privilege. What does it mean to have power and how do you use it responsibly?” asks Malloy. “I hope this production will inspire those who watch it to live more conscientiously and compassionately, with eyes wide open to even the ugliest parts of themselves.”

The Changeling
runs November 9–18 at The Rueff at A.C.T.’s Strand Theater, 1127 Market Street, San Francisco. Click here to purchase tickets.

 
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