Okay, so I cheated this month. The first five tweets are from me, the rest were collected by my good friend, Katelyn. I’m still taking a twitter break while working on a big project for a reunion this summer. So, in no particular order, here are our favorite April tweets. As usual, the Swear Trek tweets give this a PG rating.
March started out strong, with lots of great tweets. Then I began a huge project for my San Diego Junior Theatre reunion this summer, and I mostly disappeared from twitter. It was a nice break from negativity and bad news.
A few of these are screen captures instead of links, to make them easier to read. Sometimes I don’t see tweets until they’ve been retweeted by others, so the first of these are dated the end of February.
This afternoon we drove over to Mill Valley to see the youth production of In The Heights at the Throckmorton Theatre. I’ve never been to this theatre before, but I’m definitely going back. I found out about the show when I saw an instagram post by a young actor I’ve seen twice now at A.C.T.’s Strand. I love supporting the teens, especially now as I prepare for the 70th anniversary of my youth theatre group.
When we booked our tickets, I forgot to check my calendar. I had planned to do the March for Our Lives in San Francisco. We didn’t change the date, because I felt the kids deserved a good audience. The performance dates were set before the march was organized, and the show must go on! When I placed my ticket order on the theatre website, I requested aisle seats but then noticed the seating was general admission. At Will Call, we discovered that they had reserved seats for us on the aisle in the front row, facing the step unit where some of nicest moments in the show were staged. We couldn’t have asked for better customer service. The theatre itself is adorable; I especially like the painted ceiling over the seats.
This was my first time seeing In The Heights. I’ve been listening to the cast album, so I was familiar with the songs and some of the storylines. Because the theatre is intimate, I appreciated the decision not to use heavy age makeup on the teens playing older roles. The talented performers like Jasmyne Brice as Abuela Claudia conveyed the age of their characters just fine without it. The role of Kevin Rosario is the perhaps the most challenging for a teen to play, and Javier Vicuna Kevin was excellent. Some of the lead roles were double cast for different performances. We had the delightful John Diaz as Usnavi. Both Anna Vorperian ( Vanessa) and Chloe Rodrigues (Nina) were lovely. Sassy Asal Takesh rocked as Daniela, while Gia Asher-Lagleva (Carla) was winsome and soulful. I would love to see the other cast perform these roles, but the show closes tomorrow. Fergus Campbell was both funny and touching as Benny, and feisty Anaya Smith-Orr shone as Camila Rosario. Sleiman Elahmadieh made the most of his role as Piragua Guy, as did Sam Yolles as Graffiti Pete. Kavi Subramanyan, the actor from the A.C.T. Young Conservatory, was a live-wire as Sonny. We enjoyed his cocky energy and his cheeky grin. The ensemble was diverse and spirited and thoroughly entertaining.
I was very impressed with the storefront set designed by Steve Coleman. The choreography by Stacey Printz made the most of the different levels and the relatively small stage for such a large ensemble of dancers. Director Kevin Allen did an excellent job staging the show and bringing out the best from his cast. I got to talk to him during the intermission, and his enthusiasm was infectious. And, after the performance, I finally got to meet Kavi!
As soon as we got home, I put myself on the Throckmorton mailing list. I’m looking forward to another musical at the Throck!
February was a hard month. The Parkland school shooting and the unrelenting bizarre news from the White House made my twitter feed more serious than usual. I’m now following some of the Marjory Stoneman Douglas student activists, as well as the US Olympic figure skaters and a few more authors. I’m still relying on Swear Trek for laughs, which gives this post a PG rating. These begin after the “continue reading” link.
Note: several of these are screen captures instead of links to the tweets, to make them easier to read.
Yesterday I took a friend to the first annual Every 28 Hours Black Arts Festival at A.C.T.’s Strand Theater, located across the street from San Francisco’s Civic Center. We arrived to find the lobby set up with a helpful welcome table and vendors selling tee shirts, art, jewelry and other handicrafts. The festival made use of the two performance spaces (The Rueff and the Rembe Theater) as well as the lobby. Events were scheduled from 3 to 10pm, and I was impressed by how well the organizers kept to the timetable.
3pm Moving The Movement: An inter-generational workshop exploring hip-hop dance as an act of social justice, led by Sarah Crowell and Rashidi Omari
4:15pm Panel Discussion: Empower Your Platform: How can black artists, activists and innovators use our platforms to heal and uplift each other in our struggle for social change? Moderated by Chip McNeal
5:15pm Meditation Workshop: A healing workshop inspired by Dr. Martin Luther King, Jr.
6:15pm Musical & Movement Performances by Nyree Young, Dezi Soléy, and the Destiny Arts Youth Performance Company
6:45pm Musical Performance by Jessica Lá Rel
7pm a selection of plays from Every 28 Hours directed by Elizabeth Carter
8:30pm Group Discussions facilitated by Cheri Miller, Vanessa Ramos, Radhika Rao, Jasmin Hoo, and SK Kerastas
9:15pm Drum Circle with Nyree Young
9:30pm Closing Reception with food, drinks and a raffle
I learned about the festival by following A.C.T. on twitter. It was free, but I’m glad we registered online because the evening events were fully reserved by the time we arrived. We participated in all the events except for the meditation workshop. We were very sorry to miss that one, but we needed a dinner break!
The movement workshop in The Rueff was an excellent ice-breaker. Sarah Crowell and Rashidi Omari of Destiny Arts Center got us out of our chairs and into a large circle. We started with warm up exercises with breathing, clapping games, and introducing ourselves with our names paired with a movement. Then we teamed up with someone we didn’t know for silent role-playing exercises: have a conversation with movement only; act out a teacher and a student; role-play a police officer conversing with a young black man. I got a great partner, who I later found out is a middle grade teacher here in San Francisco. Next, we got into groups of four. Each person took a turn ‘sculpting’ the others into a tableau expressing racism, discrimination, healing and community. We added movements to link them together. Some groups chose to use sounds as well movement for the transitions. Once we had a bit of practice, we performed our creations for the rest of workshop. Finally, Sarah and Rashidi taught us a hip-hop dance sequence to some upbeat music. I tried a few steps but with my two left feet, I soon sat down and enjoyed the dancing from the back.
After a short break to rearrange The Rueff space, Chip McNeal led a panel discussion with Sarah Crowell, Regina Evans (Regina’s Door), Skyler Cooper, and Jack Bryson. McNeal acknowledged that they could only begin the conversation about healing and uplifting each other (Empower Your Platform). The hour went fast, but McNeal made sure all four panelists had a chance to speak about their work and their activism in the community. Sarah Crowell discussed working in collaboration with young people, striking a balance between letting them be creative while setting boundaries. Regina Evans talked about working with, and learning from, survivors of sex trafficking. Actor, filmmaker and activist Skyler Cooper described how being transgender means he’s experienced life as both a black woman and a black man. Jack Bryson became a community organizer because two of his sons were with Oscar Grant when he was killed by police. He said that the friends of Grant who witnessed his shooting were forgotten and wounded in their own way, as are many older folks from Bryson’s generation. He mentioned the many incarcerated adults who are now being released into a very different world. There wasn’t time for questions from the audience, but the discussion gave us plenty to think about.
We got Mexican food down the street for dinner, then returned to the lobby so we wouldn’t miss the dance and spoken word performances by Destiny Arts. Nyree Young played drum while Dezi Soléy danced down the stairs and around the lobby, interacting with the crowd. Then the talented Destiny Arts Youth Performance Company performed a spoken word piece on racism.
We all moved into the Rembe Theater for Alternative Soul singer Jessica Lá Rel. Her selections included Work Song (famously recorded by Nina Simone) as well as some new, unreleased material. She was supported by a keyboardist and three backup singers. Lá Rel has a beautiful voice. We very much enjoyed her performance.
Next up was the selection of 2 dozen one-minute plays from Every 28 Hours. From the program notes:
In April 2013, the Malcolm X Grassroots Movement reported in Operation Ghetto Storm that during the previous year, 313 unarmed Black people were killed in the United States by police, security guards, and vigilantes. This occurred at a rate of one person of color approximately every 28 hours…
In 2015, the Oregon Shakespeare Festival and the One-Minute Play Festival created a project and partnership entitled Every 28 Hours, inviting American theater artists from across the country to gather in St. Louis to address the current movement for civil rights and racial justice. Participants created a compilation of 72 one-minute plays, which they cast, rehearsed, and performed as a rapid response to what was learned, heard, and experienced at the conference, with the intention of inspiring public discourse and social action.
Since that time, the Every 28 Hours plays have been presented at dozens of theaters, universities, and community spaces across the country, including A.C.T.”
The plays began with an introduction by producer Stephanie Wilborn and director Elizabeth Carter. There were about 3 dozen actors who sat at the back of the stage in two rows of chairs. They moved forward to perform, either on or in front of two platforms. The theme/title of each segment was projected onto the backdrop: Introduction, Race, Police, Community, Protest, History, Mothers, Youth, and Finale. I found many of the actors listed in the program on the current MFA student list. One of them was Micah Peoples, who we saw last weekend at A.C.T.’s play reading of Ibsen’s Ghosts. Another actor I recognized was Kavi Subramanyan from the Young Conservatory production of Homefront last summer. All the pieces were powerful. I was especially moved by Dinosaurs and Hooded Tears. For the Final Piece, the actors took turns reading the names of those killed by police in recent years, including Oscar Grant, Trayvon Martin, Philando Castile, and Eric Garner. The actors had a printed sheet of white paper for each name, which they raised over their heads and then dropped onto the stage.
After the performance, we broke up into three discussion groups. The black actors and audience members stayed in the Rembe Theater, people of color who weren’t black gathered in the lobby, and everybody else went upstairs to The Rueff. My friend was part of the lobby group, and I was in The Rueff, where facilitators Jasmin Hoo and SK Kerastas led us in a discussion on how to be effective allies. In small groups, we talked about our reactions to the Every 28 Hours plays and what we planned to do after the festival to stay involved. We were given a handout with a list of local ally organizations including surjbayarea.org and Asians4BlackLives.
We went back to the Rembe Theater for a drum circle with Nyree Young. There weren’t as many of us, but those who stayed were energized by Nyree’s music. She started on guitar with This Little Light of Mine, and when she moved to her drum, many of the performers danced in the aisles. It was awesome!
The closing reception was in the lobby. We had some wine and chatted briefly with Jessica Lá Rel. We didn’t stay long, but it was fun to mingle with the performers and organizers.
It was a wonderful festival, and we’re already looking forward to next year. Thank you, A.C.T. and everyone involved!
When I was doing my Year End Wrap Up 2017, I had a lot of trouble going back to find my favorite tweets of the year. I’ve decided to do this monthly instead. It’s unfortunate that here the text is displayed at the bottom of pictures/videos/GIFs, and I can’t put helpful spaces in between each tweet. Look for the faint blue lines around the tweets if you’re not sure what goes together.
It’s no secret that I’m a big fan of both Dear Evan Hansen and Matthew James Thomas. It’s no surprise that I’m enjoying the new EP of 3 original songs from Michael Lee Brown, currently the alternate Evan Hansen on Broadway. Matthew James Thomas is the producer, and he’s been tweeting about the project. The EP was released today, so I purchased the download from Amazon after listening to it on Soundcloud. (You can also get it at CDBaby, since it’s nice to support the independents.) Brown’s songs are acoustic and unabashedly optimistic. Give them a listen!
(Be sure to leave a review like I did!)