San Francisco Theater Pub
In February 2010, I was introduced to the independent theatre troupe San Francisco Theater Pub. Shortly after, I would join the troupe as an actor/writer/director. (Incidentally, I would go on to be the most frequently-used performer in the company.) Within a year or two, their website expanded from merely posting notices for upcoming performances to writing full-length essays and interviews about theatre of all sizes.
I began writing occasional pieces in 2013. By 2014, I’d begun writing the bi-monthly column “In For a Penny”. I continued to write the column until the company dissolved in 2016.
The following is a thorough collection of my work on the site.
But first, Others Interviewing Me
Whether as playwright-director or as a columnist, others would frequently ask my opinion about goings-on at the ‘Pub
The First Pieces
Before becoming a proper site columnist in October 2014, I contributed the following essays and interviews
The Column: “In For a Penny”
Ever wonder what it’s like trying to make it as an unemployed PoC creating theatre in San Francisco? Good news: the 50 entries of my column covered that very ground
- In For a Penny: Introduction – Moment of Claire-ity (October 2014)
My first piece for my new bi-monthly column was an ode to the columnist whom I was succeeding, writer/producer/director Claire Rice. - In For a Penny: Of Olympic Proportions – Let the Monster Out (November 2014)
The first of a semi-regular focus of the column, in which I would let readers in on the creative process behind the annual San Francisco Olympians Festival. - In For a Penny: Running in Place (November 2014)
In which I contemplate a surprise reprieve after a very busy year of performing. - In For a Penny: Label-mates (December 2014)
In which I discuss the inescapable element of race (and racism) in theatre. - In For a Penny: Of Olympic Proportions – The End is the Beginning is the End (December 2014)
In which I let my excitement for the festival run away with me. - In For a Penny: Everyone’s a Cricket (January 2015)
After watching the film Birdman – which I actually loved – I use its asinine portrayal of critics as a means of championing the critic in the artistic process. - In For a Penny: Up ‘n At ‘Em! (January 2015)
The year 2015 had begun and a fire had been lit in my belly. - In For a Penny: Shedding the Pounds (February 2015)
My only Feb. 2015 piece was about the necessity to keep oneself physically healthy when dealing with the demands of theatre. - In For a Penny: The Benefit of Being Let Go (March 2015)
I use the end of one administrative theatre position as an opportunity to dedicate more time to my creativity. - In For a Penny: Of Olympic Proportions – With a li’l Help from Your Friends (March 2015)
I report on the then-upcoming festival with a look inside the writers gatherings. - In For a Penny: The Fine Art of Wasting Time (April 2015)
After working as an extra (something I’d done for years at that point) on the film Steve Jobs, I lament the snail’s-pace process of film production compared to the developmental process of theatre. - In For a Penny: The All-Seeing Eye (April 2015)
After attending a few live-streamed theatre productions, I contemplate the place of new technology in an ancient art form. I also offer suggestions on how to make it work. - In For a Penny: Not a Family Matter (May 2015)
There’s a reason I don’t invite family members to my shows. - In For a Penny: It’s a Super Job: (May 2015)
I’ve worked as a supernumerary for the SF Opera since 2012. Here why I love it so much. - In For a Penny: Of Olympic Proportions – The Script you Love to Hate (June 2015)
Writing is rewriting, so it’s okay to hate the first draft of whatever you’ve scribbled down. - In For a Penny: A little “Bitter” (June 2015)
After the LA theatre website Bitter Lemons sells its integrity to the highest bidder, I discuss the artistic necessity for critical objectivity. - In For a Penny: Of Olympic Proportions – The Direct Approach (July 2015)
The Olympians Fest is a writers’ festival, but directors can still have fun, even if their actors aren’t allowed to move. - In For a Penny: Flex Time (July 2015)
I got cast in an original musical! My musical skills were the least-used of my repertoire, so I thought of how to warm them up again. - In For a Penny: August of our Years (August 2015)
In which I mark the ten-year anniversary of the death of playwright August Wilson. - In For a Penny: A Decade in the Making (August 2015)
With the then-upcoming release of The Diary of a Teenage Girl (in which I had a role), I take stock of the decade that brought me that far. - In For a Penny: No One is Bulletproof (September 2015)
Because a cult of personality doesn’t protect anyone – or any work – from harsh criticism. - In For a Penny: Of Olympic Proportions – Can you Macarena? (September 2015)
Even before the Olympians Fest begins, the hilarious audition process is one of the highlights of the whole she-bang. - In For a Penny: Casual Setting (October 2015)
With the advent of new technologies, the traditional form of “set design” is evolving beyond paint and plywood. - In For a Penny: Of Olympic Proportions – My Twitter-fied Script (October 2015)
Kill your darlings. Slash your pages. Start from scratch. Edit, edit, edit. - In For a Penny: Three the Hard Way (November 2015)
The then-recent SF general election had some pretty strong implications for the local arts community. - In For a Penny: Of Olympic Proportions – A Pre-Post-Mortem (November 2015)
I was writing a play about being close to death. It got me thinking about how one approaches the end, artistically speaking. - In For a Penny: Holidaze (December 2015)
In which I take a look at the so-called “War on Christmas”. - In For a Penny: You Can’t take it With You (December 2015)
The then-recent release of play-like Steve Jobs had me pondering what theatrical elements do and don’t translate to film. - In For a Penny: Life on Mars (January 2016)
My first post for 2016 was a nod to the passing of David Bowie, the theatrical rock star with whom I shared a birthdate. - In For a Penny: Under the Big Top (January 2016)
SF hosting the festivities for Super Bowl 50 was like an unwelcome circus come to town. As such, I pondered the SF circuses that fit better into the City. - In For a Penny: Speaking My Language (February 2016)
The thought of Tony Kushner adapting August Wilson’s Fences for the big screen was simultaneously intriguing and terrifying. - In For a Penny: Eyes without a Face (February 2016)
I end that year’s Black History Month by pointing out how “racially-blind casting” is often just an excuse to keep PoC out of major roles. - In For a Penny: What do I Stand For? (March 2016)
In which a (positive) off-hand comment about me leaves me wondering what “category” I fall into for theatre. - In For a Penny: Whose Job are You? (March 2016)
After Rob Hurwitt retired as Theatre Critic for the San Francisco Chronicle, they interviewed me – yes, me – as a potential replacement! - In For a Penny: (T)BAcon Bits (April 2016)
I attend the annual Theatre Bay Area Conference in an official capacity for the first time. - In For a Penny: The Early Bird (April 2016)
Watching a developmental production of Mfoniso Udofia’s runboyrun has me wondering how we’ll think of the play – or any in-development play – years down the line. - In For a Penny: Of the People, By the People, For the People (May 2016)
A protest becomes audience to a new show, which then is interrupted by protest supporters. Because politics and art are inextricable. - In For a Penny: Vices I Admire (May 2016)
As I prepared for an upcoming ‘Pub show – Colin Johnson‘s weed-fueled zombie comedy, Sticky Icky – I discuss the history of artists who have created “under the influence”. - In For a Penny: Mid-Year Intermission (June 2016)
In which I take the middle of the calendar to take a well-earned break. - In For a Penny: Playground Rules (June 2016)
For one of my most-read pieces, I react to the then-recent scandal of Chicago’s Profiles Theater by taking to task Darrell Cox and the toxic culture that allows sadists like him to thrive. - In For a Penny: You Won’t be Namin’ no Buildings After Me (July 2016)
As an election loomed ever closer, I looked at the long, complicated relationship between theatre and politics. - In For a Penny: Dead Men tell No Tales (July 2016)
As I was in the middle of writing a play about death, there were a lot of celebrities dying. It got me thinking about death. Again. - In For a Penny: Oh yeah, THAT Thing (August 2016)
Surprise auditions don’t freak me out as much as they did when I was a younger actor. - In For a Penny: Raise a Broken Glass (August 2016)
Because even the worst of the worst shows can leave a positive lasting impression. - In For a Penny: Accepting New Membership (September 2016)
Funny how the simple discussion of diversity (or rather, the lack thereof) seems to bring out the worst in people. - In For a Penny: The Numbers Game (September 2016)
I rate bad theatre people on a scale of 1 – 10. There aren’t a lot of 10s, but hoo-boy, can I not stand them. - In For a Penny: I Die a little Inside (October 2016)
Much like my “Osmosis” entries on this site, I wonder why it’s so damn hard for me to find a good job. - In For a Penny: Bum-rush the Show! (October 2016)
People say stupid things in my presence; I try my best not to react. - In For a Penny: What’s in a Name? (November 2016)
As a none-too-subtle Shakespeare-geek, I use the then-recent Oxford decision to contemplate The Authorship Question. - In For a Penny: Only if You Mean It – FINAL ENTRY (November 2016)
I bid good-bye to the ‘Pub, my theatre home of six great years.
San Francisco Theater Pub
In February 2010, I was introduced to the independent theatre troupe San Francisco Theater Pub. Shortly after, I would join the troupe as an actor/writer/director. (Incidentally, I would go on to be the most frequently-used performer in the company.) Within a year or two, their website expanded from merely posting notices for upcoming performances to writing full-length essays and interviews about theatre of all sizes.
I began writing occasional pieces in 2013. By 2014, I’d begun writing the bi-monthly column “In For a Penny”. I continued to write the column until the company dissolved in 2016.
The following is a thorough collection of my work on the site.
But first, Others Interviewing Me
Whether as playwright-director or as a columnist, others would frequently ask my opinion about goings-on at the ‘Pub
In which I and my fellow directors of the annual Pint Sized Play showcase talk about what led us to that year’s show.
In which I and my fellow columnists list what lessons lingered with us at the end of 2014.
In which we columnists sing one another’s praises.
In which we individually recollect about the moments from our columns that we still remembered in December.
To kick off a site-wide series about gender parity in theatre, I personally compiled a list of 106 male playwrights whose work has included female characters (whether those were good female characters is another story.)
The First Pieces
Before becoming a proper site columnist in October 2014, I contributed the following essays and interviews
When the ‘Pub went on hiatus in 2013, I wrote this piece (on this very site) lamenting its absence.
My first proper piece for the site was this introduction for the instant playwriting program.
Stirred on by a then-recent discussions of doing away with the past, I wrote this piece which stirred quite a strong reaction.
As two of my fellow columnists prepared to get married, I wrote this piece about performers who have “showmances”.
In which I interviewed playwright (and fellow columnist) Marissa Skudlarek about her then-upcoming world premiere play, Pleiades.
In which I interviewed Katja Rivera, director of the aforementioned play by Marissa Skudlarek.
In which I document my first time witnessing the SF Fringe Fest from the inside-out.
When the ‘Pub returned from its performance hiatus, I wrote this piece lauding its return and praising its new venue, PianoFight.
The Column: “In For a Penny”
Ever wonder what it’s like trying to make it as an unemployed PoC creating theatre in San Francisco? Good news: the 50 entries of my column covered that very ground
My first piece for my new bi-monthly column was an ode to the columnist whom I was succeeding, writer/producer/director Claire Rice.
The first of a semi-regular focus of the column, in which I would let readers in on the creative process behind the annual San Francisco Olympians Festival.
In which I contemplate a surprise reprieve after a very busy year of performing.
In which I discuss the inescapable element of race (and racism) in theatre.
In which I let my excitement for the festival run away with me.
After watching the film Birdman – which I actually loved – I use its asinine portrayal of critics as a means of championing the critic in the artistic process.
The year 2015 had begun and a fire had been lit in my belly.
My only Feb. 2015 piece was about the necessity to keep oneself physically healthy when dealing with the demands of theatre.
I use the end of one administrative theatre position as an opportunity to dedicate more time to my creativity.
I report on the then-upcoming festival with a look inside the writers gatherings.
After working as an extra (something I’d done for years at that point) on the film Steve Jobs, I lament the snail’s-pace process of film production compared to the developmental process of theatre.
After attending a few live-streamed theatre productions, I contemplate the place of new technology in an ancient art form. I also offer suggestions on how to make it work.
There’s a reason I don’t invite family members to my shows.
I’ve worked as a supernumerary for the SF Opera since 2012. Here why I love it so much.
Writing is rewriting, so it’s okay to hate the first draft of whatever you’ve scribbled down.
After the LA theatre website Bitter Lemons sells its integrity to the highest bidder, I discuss the artistic necessity for critical objectivity.
The Olympians Fest is a writers’ festival, but directors can still have fun, even if their actors aren’t allowed to move.
I got cast in an original musical! My musical skills were the least-used of my repertoire, so I thought of how to warm them up again.
In which I mark the ten-year anniversary of the death of playwright August Wilson.
With the then-upcoming release of The Diary of a Teenage Girl (in which I had a role), I take stock of the decade that brought me that far.
Because a cult of personality doesn’t protect anyone – or any work – from harsh criticism.
Even before the Olympians Fest begins, the hilarious audition process is one of the highlights of the whole she-bang.
With the advent of new technologies, the traditional form of “set design” is evolving beyond paint and plywood.
Kill your darlings. Slash your pages. Start from scratch. Edit, edit, edit.
The then-recent SF general election had some pretty strong implications for the local arts community.
I was writing a play about being close to death. It got me thinking about how one approaches the end, artistically speaking.
In which I take a look at the so-called “War on Christmas”.
The then-recent release of play-like Steve Jobs had me pondering what theatrical elements do and don’t translate to film.
My first post for 2016 was a nod to the passing of David Bowie, the theatrical rock star with whom I shared a birthdate.
SF hosting the festivities for Super Bowl 50 was like an unwelcome circus come to town. As such, I pondered the SF circuses that fit better into the City.
The thought of Tony Kushner adapting August Wilson’s Fences for the big screen was simultaneously intriguing and terrifying.
I end that year’s Black History Month by pointing out how “racially-blind casting” is often just an excuse to keep PoC out of major roles.
In which a (positive) off-hand comment about me leaves me wondering what “category” I fall into for theatre.
After Rob Hurwitt retired as Theatre Critic for the San Francisco Chronicle, they interviewed me – yes, me – as a potential replacement!
I attend the annual Theatre Bay Area Conference in an official capacity for the first time.
Watching a developmental production of Mfoniso Udofia’s runboyrun has me wondering how we’ll think of the play – or any in-development play – years down the line.
A protest becomes audience to a new show, which then is interrupted by protest supporters. Because politics and art are inextricable.
As I prepared for an upcoming ‘Pub show – Colin Johnson‘s weed-fueled zombie comedy, Sticky Icky – I discuss the history of artists who have created “under the influence”.
In which I take the middle of the calendar to take a well-earned break.
For one of my most-read pieces, I react to the then-recent scandal of Chicago’s Profiles Theater by taking to task Darrell Cox and the toxic culture that allows sadists like him to thrive.
As an election loomed ever closer, I looked at the long, complicated relationship between theatre and politics.
As I was in the middle of writing a play about death, there were a lot of celebrities dying. It got me thinking about death. Again.
Surprise auditions don’t freak me out as much as they did when I was a younger actor.
Because even the worst of the worst shows can leave a positive lasting impression.
Funny how the simple discussion of diversity (or rather, the lack thereof) seems to bring out the worst in people.
I rate bad theatre people on a scale of 1 – 10. There aren’t a lot of 10s, but hoo-boy, can I not stand them.
Much like my “Osmosis” entries on this site, I wonder why it’s so damn hard for me to find a good job.
People say stupid things in my presence; I try my best not to react.
As a none-too-subtle Shakespeare-geek, I use the then-recent Oxford decision to contemplate The Authorship Question.
I bid good-bye to the ‘Pub, my theatre home of six great years.
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