Inside A.C.T.

by A.C.T. Publications Staff The spirit of duende , the Spanish term for passion and inspiration, is central to the works of Federico García Lorca. For A.C.T.'s production of Lorca's  Blood Wedding , director Christine Adaire and actor Hernán Angulo share their interpretation of duende , and how it influenced their production. Federico García Lorca (courtesy of Wikipedia) Federico García Lorca was obsessed by the spirit of Duende . Duende is one of the most elusive words in the Spanish language. Literally, it means “ghost” or “goblin.” In art, particularly drama, dance, and the music of Flamenco, it refers to the powerful energy emitted by a performer to captivate the audience. Lorca gave a lecture in Buenos Aires in 1933 in which he described duende as “a force, not a labor, a struggle, not a thought,” “the mystery, the roots that cling to the mire we all know,” and “a creature who sweep[s] the earth with its wings of rusty knives.” It is not based in reason or the intellect,

By Michael Paller * This article originally appeared on Inside A.C.T. in 2016.  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

  By Michael Paller  * This article originally appeared on Inside A.C.T. in 2016.  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

By Claire L. Wong and Alejandra Maria Rivas Emma Van Lare grew up in Spring, Texas, 22 miles from Houston. Her parents immigrated from the Republic of Ghana in West Africa. “I’m first-generation Ghanaian American,” Van Lare says, “so I think I’m of two places, actually.” When planning out her career, Van Lare sat her parents down and told them, “Look. I am not going to business school. I want to be an actor.” Her mom said, “Okay, but you have to treat it like a business. It can’t be a hobby.” Emma Van Lare. Photo by Deborah Lopez.  “I appreciated that,” Van Lare says, “because my mom’s a doctor, my dad’s an insurance business guy. Their background was, [ dramatic voice ] ‘Education is the way! The truth and the light!’ I appreciated them telling me that, because it showed that they were not rigid, they were very supportive. In creative work, you have to be your own engine and treat it like a business even if you’re not making money from it. It’s the only way you’ll survive.”

By Allie Moss Click here to read Part One of this profile.  Originally, In Love and Warcraft was conceived as an in-person production to take place with A.C.T.’s MFA students in May 2020. But in the midst of the pandemic, A.C.T.’s Conservatory was forced to “pivot” and mount the show online instead. The May production did much more than fulfill the curricular need for student performance; it inspired a remount co-production from A.C.T. and Perseverance Theater, and it birthed a new medium that Kuo calls “live video theater.”  “Live video theater” is exactly what it sounds like: theater, happening on video, streaming live. And that live element is key; it’s what makes this form distinct from recorded videos of past theater productions. “When you’re watching something live versus recorded, the brain activates in a way that goes, ‘okay, something can happen,’” Kuo says. “That’s what I think liveness does; it allows us to be more forgiving, and lean into theatrical convention.” To facili

By Allie Moss Madhuri Shekar’s In Love and Warcraft is a play for our times. While there’s no mention of a pandemic, it expertly draws out questions of intimacy and relationship-building in virtual space. The play centers on Evie, a college senior who is navigating a budding in-person romance alongside an online relationship with her long-distance gamer boyfriend, with whom she plays World of Warcraft. By rehearsing and presenting the production on Zoom, life mirrors art as six of A.C.T.’s MFA actors are tasked with reaching through the screen to create deep connections. Peter J. Kuo, the production’s director, is profoundly aware of this overlap. “It’s not just that [the show] translates well into the online medium,” he says. “It actually shows that internet relationships have meaning and are palpable.”  Peter J. Kuo. Photo Courtesy of Peter J. Kuo. This play resonates for Kuo in part because he has personal experience building relationships over the internet. “My main introduction t

  By A.C.T. Publications Team  Peter J. Kuo is a director, producer, writer, and educator focused on raising the visibility of marginalized communities. As social justice programs coordinator at The New School, he founded the NSD: Affinity Groups program and was involved with several EDI initiatives. He is the co-founder of Artists at Play, a Los Angeles Asian American Theatre Collective. As a director, he has worked at the Williamstown Theatre Festival, the Oregon Shakespeare Festival, East West Players, South Coast Rep., Geffen Playhouse, Rattlestick Playwrights Theater, Leviathan Lab, Ma-Yi Theater Company, Pan Asian Repertory Theatre, and others. He was recently named one of Theatre Communications Group's Rising Leaders of Color. A.C.T. Associate Conservatory Director Peter J. Kuo. We are so excited to have you at A.C.T., Peter! What drew you to this role?  I had just received my MFA in directing from The New School when I heard from A.C.T.’ s new artistic director, Pam MacKinn

By Livian Yeh Hailing from Jeffersonville, Indiana, Kimberly Hollkamp-Dinon attended A.C.T.’s Summer Training Congress after graduating from college. “I immediately fell in love with the learning and training environment, and with the community here at A.C.T.,” she says. “I knew it was a place in which I could thrive.” Three years later, Hollkamp-Dinon has grown in technique, confidence, and artistry. We caught up with her to chat about her time in the MFA program, embracing her weirdness, and her love of The Great British Bakeoff . Kimberly Hollkamp-Dinon. Photo by Deborah Lopez.  What's your favorite part of the MFA Program? Definitely my classmates. I have learned so much from my fellow ensemble members of the class of 2020. I’m so grateful to work with them and learn from them. I have found lifelong collaborators in this group of artists. One of my favorite projects was when we all worked on a production of The School for Scandal directed by [MFA Program Head of V

  By A.C.T. Publications Staff Have you ever heard of the New York Black Yankees? What about the Homestead Grays, Baltimore Black Barons, or Cincinnati Tigers? From the 1880s until the 1950s, there were two professional baseball systems in the United States: one for white players, and another for Black Americans. Both contributed to the development of the modern game and baseball industry. This year, 2020, marks the centennial of the Negro Leagues, which was founded by Andrew “Rube” Foster,  retired pitcher and owner of the Chicago American Giants, in February 1920 to “create a profession that would equal the earning capacity of any other profession . . . keep Colored baseball from the control of whites . . . [and] do something concrete for the loyalty of the Race.” The 1943 Homestead Grays lineup included several future Hall of Fame players: Cool Papa Bell (back second from left), Josh Gibson (back fifth from left), and Buck Leonard (back second from right). Photo courtesy of the Negr

By Livian Yeh After graduating from Reed College with a degree in English, Lily Harris entertained career paths in teaching, academia, and horseback riding, but ultimately landed on acting. Learning about A.C.T.’s MFA program from a friend and eager to improve her craft, the Los Angeles native auditioned and was accepted as part of our class of 2020. She talks to us about her time in the program, her inspiration, and finding joy in life as an artist. Lily Harris Headshot. Photo by Deborah Lopez.  How have you grown in your artistry in the past three years being in the MFA Program? I am so much more confident in sharing myself with others. I think I started acting because I felt it gave me permission to show parts of myself I didn’t feel comfortable sharing in everyday life. Although that is definitely still true, one of the most important lessons I’ve learned is that the only person who can give you permission to do or be something is you . I am much more conscious of w

By Annie Sears  Meet Mark Peters, a master of repurposing thrifted fabric, auditioning for the  Amazing Race  (he’s submitted four video auditions and attended six open calls), and maintaining a morning routine: meditation, followed by yoga, followed by breakfast and a crossword puzzle—which is surprisingly similar to his work here at A.C.T. as our subscriptions manager. We recently sat down with Peters to hear about his 32 years here at A.C.T. A.C.T.'s Subscriptions Manager Mark Peters. Photo by Elspeth Sweatman. How would you describe your job to someone that doesn’t know anything about it?  It’s a giant puzzle, and I love puzzles. Our subscribers get to choose their seats, and keep those same seats for each show they attend. So when we get new subscribers or have subscribers who want to change their seats—that’s my favorite part. I have to say, “Okay, this person wants to move to Saturday night, so I can get this person into this space. And what if I shift this person here?” I d

By Claire L. Wong and Alejandra Maria Rivas LeRoy S. Graham III was born and raised in Brooklyn, New York. Growing up, he first got into the arts through dance and musical theater in school. He studied theater and psychology at City College of New York, and after graduating, explored acting outside of life as a student. He started auditioning for graduate acting programs at 25 and was accepted into A.C.T.’s MFA Program when he was 27. “I felt like I knew what I wanted to go in and pursue that time,” he says. The thought of moving to San Francisco away from family was daunting at first, but he was drawn to A.C.T.’s training. “There’s the focus on developing the artist as a whole,” Graham says. “From the callback weekend I felt at home. I felt this could be the place for me for the next three years.” LeRoy S. Graham III. Photo by Deborah Lopez. What has your experience in the MFA Program been like? One of the biggest things that I’ve gained from being at A.C.T is developin

By Annie Sears Being an actor means a lot of preparation: researching the play’s context and analyzing character motivations, attending costume fittings and spending hours in blocking rehearsals. Another important prep step not often revealed? Pre-show skincare. Stage makeup is heavier than day-to-day makeup, often causing allergic reactions, breakouts, and dryness—which nobody wants, especially someone who stands under stage lights every day. So how are actors in  The Great Leap  (running through March 31 at The Geary) making sure their faces are stage-ready? BD Wong (playing Wen Chang) is a fan of hyaluronic acid. Sounds a little scientific and sterile—like something you definitely do  not  want soaking into your skin, right? It’s actually entirely natural. Our skin cells produce hyaluronic acid on their own, but we could all use a little extra to even skin tone and decrease the appearance of lines and wrinkles. “It makes it possible for this character to be 24 years old at the

By Claire L. Wong and Alejandra Maria Rivas Before moving to San Francisco for A.C.T.’s MFA Program, Jeff Wittekiend had lived in Texas his whole life. He grew up outside of Austin in Burnet (population 6,000), studied theater at Baylor University in Waco, then moved to Dallas to continue acting. “I was doing bigger and bigger regional shows, working on my craft, observing people in the world,” he says. “I was trying to figure out what kind of artist I wanted to be.” After deciding to hone that artistry in graduate school, he made the journey to San Francisco. Wittekiend recently graduated from A.C.T.’s MFA Program, and we spoke with him about his experiences. Jeff Wittekiend. Photo by Deborah Lopez. What inspired you to pursue A.C.T.’s MFA Program? When I came to the A.C.T. callback, I felt good about the teachers I met and the classes we had during that weekend. I got to see  A Thousand Splendid Suns  when I was here. It was a book I’d read in high school and just adore

By Beryl Baker Since San Francisco’s shelter-in-place order went into effect on March 19, A.C.T. Digital Content Producer Beryl Baker has been keeping busy. In addition to turning live productions of Gloria and Toni Stone into streamed films and editing A.C.T.’s InterACT-at-Home videos, Baker also produced Spring Forward, the smash-hit virtual fundraiser that helped sustain our artistic and education and community programs. Baker shares tips on how to produce a successful, virtual, live event in a pandemic.  Baker at work with her cat Lily. Photo by Beryl Baker.  Find out what technology can do for you Talk or reach out to video production experts and trust their advice. Dig deep into understanding what is and isn't possible. Most people don’t realize that technology isn't as ahead of its time as we’re told. While FaceTime and Google Hangouts exist, those are patented products produced by two top tech companies: having video be sent out and received live require

By Claire L. Wong and Alejandra Maria Rivas Dinah Berkeley (she/they) grew up in Evanston, Illinois, a suburb outside of Chicago. After graduating from Ohio University, Berkeley studied in a professional training program at Actors Theatre of Louisville, then moved to New York for a few years. There she became involved with mime, physical theater, and clown, and joined the Broken Box Mime Theater troupe. Berkeley’s focus narrowed to sharpening her acting skills, and after auditioning for graduate programs, she came to A.C.T. Dinah Berkeley. Photo by Deborah Lopez. Can you describe your experience being in the MFA Program? It’s challenged me about what kind of artist I want to be, how I want to present myself. What kind of work I want. I’ve had to be open to things that I might feel resistance to and trust that if I do the work and if it’s not serving me, I can put it aside. But I won’t know that answer until I commit to fully trying. What’s your favorite part of the Progra

By Beryl Baker and Livian Yeh San Francisco Pride is turning 50 this year amid a global pandemic and worldwide protests against police brutality and systemic racism. In response to questions about the upcoming virtual celebration and rally , San Francisco Pride board president Carolyn Wysinger expressed support of the protesters and highlighted the especially vulnerable Black trans community. “Stonewall was started by a Black trans woman. Stonewall was a defense of Black bodies,” says Wysinger. “In honor of this, San Francisco Pride will use this moment to lift up and center our Black LGBTQ+ community members.” The woman Wysinger referred to was Marsha P. Johnson, a Black transgender activist and performer credited with throwing the first brick at Stonewall. As the saying goes, Pride didn’t start as a party—it was a riot, and members of the LGBTQ+ community have long fought back against police harassment and discrimination.  Photo courtesy of Wikipedia Commons. According to