Mission Mission

A few years ago DT&D interviewed AJ Baker, Artistic Director and Resident Playwright for Three Girls Theatre company (3GT). Despite loving her, and loving the concept behind 3GT (they only produce plays written by female playwrights), it’s been a while since we had seen a 3GT show. So when we heard that AJ’s latest play Disruption was premiering at Z-Below, we knew we had to see it.  So out we went for a ladies night of drama talk and drinks.

Sally Dana as Dr. Andrea (Andy) Powell in Disruption at Z Below; Photo by Mario Parnell

Katie: Wow, I’m happy about how the story ended, but feel some whiplash from how quickly the problem was resolved. It seemed like a very complicated legal matter.

Brittany: Yeah, it was really stressful for most of the show and then it just wasn’t. For a script that at times felt like it was fairly slow moving, it wrapped up very fast. I enjoyed it, even though it was a lot of talk and not much action. I was engaged. For those unexpected moments of stress, playing games like 슬롯 사이트 might be of aid.

K: There were a lot of good things about this show, but the lack of “action” took me out of it sometimes. The blocking felt unnatural, it was like the actors didn’t have anywhere to move. There were moments when I felt overwhelmed by the dialogue too. Also the connection to the #MeToo movement was a little muddled for me. Given the focus of the promos I thought it was going to go deeper into talking about that movement, whereas it felt more like a side note.

B: That’s true, but I still left with a “you go girl” feeling, bounce house for sale so it captured some of the ethos even if it didn’t feel like it spoke directly to the #MeToo moment. I like 3 Girls Theatre, and that they produce plays by women with strong female characters. Disruption was clearly written from a woman’s perspective, and it was interesting to see such authentic female characters. All their reactions, and guilt, and anxieties felt genuine.

K: I agree, I felt like a fly on the wall in a real office and there was something cool about that. I think overall it was authentic and it’s female forwardness was refreshing.

The Verdict: While there’s still some new-play clunkiness to the script and the staging, it’s a compelling story that portrays some very authentic strong female characters. We think it’s worth checking out.

The Drama Talk: It’s refreshing to see a show focused on strong female characters dealing with the kinds of challenges and emotions professional women confront in their lives. While the effort to shoehorn in current events like the #MeToo movement at times feels forced, Disruption still covers some important topics such as the ramifications of sexual harassment, gender bias, and the pressure professional women feel when they try to “have-it-all”. The script at times was a bit wordy, and the staging a bit stiff, however the compelling and authentic portrayals of women kept the show engaging.

The Drinks: After this show we felt pretty empowered so we wanted to go to a cocktail bar with powerful drinks and a high powered atmosphere. We checked our True Laurel and it was both of those things along with some delicious small plates.

Disruption runs through April 28th at Z Below. Tickets range from $35-$55 and can be purchased through their website. Right now there are tickets available on Goldstar from comp-$27.50.

Being a DT&D columnist has its perks. A recent one was scoring tickets to opening night of the national tour of Hamilton, now playing at SHN’s Orpheum Theater. Katie was out of town, so Brittany took her boyfriend and frequent guest columnist, Sam, out for a night of drama talk and drinks.

Ruben J. Carbajal as Laurens, Michael Luwoye as Hamilton, Jordan Donica as Lafayette, Mathenee Treco as Hercules Mulligan & the Hamilton Company – photo by Joan Marcus

Brittany: Hamilton is this ground-breaking, barrier-shattering show that transcended the musical-theatre world and ended up as part of pop-culture. It feels strange reviewing it, since everyone knows it’s amazing. I will tell you what was surprising for me though; the show felt like a rock concert. Those tweens behind us were literally screaming with joy when the lights went down.

Sam: You don’t get that often, two thousand people thick with adulation. They definitely come in knowing the history and the songs too. I knew about the Hamilton-Burr duel from the Got Milk commercials twenty years ago. It’s a story that has captured popular imagination in one way or another for a while. I do think knowing the music makes it a much more lived experience, where you can stop trying to understand the fast paced lyrics and can instead get caught up in the show. People knew when to cheer, when to “oooh”, it was participatory. Even though I don’t know the music well, I found it helpful to at least have a passing familiarity with the music and the story. I wish I knew it better.

B: I was very happy that I knew the music as well as I did. This show is lyrically deft. They’re constantly spitting lines and there’s a hundred things happening at once on stage. Even knowing the soundtrack well, there were moments I was like “oh my god, it’s all happening so fast, how do I follow everything?”  It felt very fleeting, which in a way was fitting. Life goes really fast and he’s always running out of time.

S: It was really fast. It’s like reading a book and then seeing a movie, although in this case it was hearing the soundtrack and then seeing the play. You have these songs in your head and your concept of what they’ll look like on stage, then the show paints a different picture.  I spent part of the play just reassigning all of these preconceived ideas I had to the actual staging. It was a much more minimalist production than I thought it might be. They made use of very few props, aside from a desk and some paper or a few chairs. But there was also this amazing lighting that bathed the stage and helped direct your attention.

B: One of the most wonderful things about this show is just listening to the soundtrack is a rich experience. I think that’s why the minimal set and props worked so well. The lyrics are so multi-layered, you don’t need anything else. On one level he’s just telling a story, but he’s also talking about American history and referencing hip-hop artists, and referencing musical theatre and theatre history.

S: Loved that Gilbert and Sullivan.

B: And the Shakespeare too, right? And you can’t see those revolving stages and not think Les Miz.

S: This is totally the Les Miz for this generation. My favorite part was definitely the rap battles in Washington’s cabinet between Jefferson and Hamilton. They were at the intersection of all the exciting things going on, policy and personality, smack talk and realpolitik.

B: So you’re like Jefferson? “Let’s get back to politics.”

S: I don’t want to be on record agreeing with Jefferson.

B: That actor (Jordan Donica) was amazing. When you go into the show you hypothetically know that the guy who plays Lafayette also plays Jefferson…

S: Wait, what?

B: …but seeing it is just remarkable. They were two totally different characters. Wait you didn’t realize it was the same actor?

S: No…

B: Well he was that good I guess. Generally the whole cast was amazing. Another thing I didn’t expect was how much this show isn’t just about Alexander Hamilton. It’s also a story about Aaron Burr and in a certain way Eliza, which you don’t really get from the soundtrack. It’s written by storytellers, so of course it makes sense that the storytellers are the ones who are most important in the end. So, would you want to see it again?

S: Oh yeah, absolutely! Not tonight though, I’m exhausted from just watching it.

The Verdict: This show is a phenomenon. Yes, tickets are expensive (unless you’re lucky and get them via rush) but it’s totally worth it to be part of this unique theatrical experience.

The Drama Talk: So much has been written about Hamilton already, how about we just share some tips? This show is fast. If you don’t know the music, it’s probably worth giving the soundtrack a listen before you go, so you’re not having your mind blown with the lyrics while trying to keep up with the action. Even if you know the lyrics well, there’s so much happening on stage it’s hard to take it all in at once. Just breathe and enjoy, you’re finally seeing Hamilton. It’s rare to go to a show where there’s nearly a standing ovation at the beginning and end of each and every song, but this show manages that feat. Embrace the experience and enthusiasm of your fellow audience members as part of the fun. Not only is this show groundbreaking, the experience of seeing it feels groundbreaking. Maybe it’s the moment, or perhaps it’s movement, but either way it’s a great night at the theater.

The Drinks: A new bar/restaurant called Fermentation Lab recently opened up down the street from the Orpheum on Market, so we went there for drinks. The kitchen is closed by the time the show gets out  (if you go before, get dinner – such good food), but they feature a rotating selection of CA craft beers which is a pretty awesome SF way to raise a glass to a fun night of drama talk and drinks.

Hamilton runs until the beginning of August, and SHN recently released a new block of tickets, so there are still seats you can purchase through the SHN website. Tickets prices range from $100 to $868, with a 6 ticket limit per person. If you’re feeling lucky try the nightly digital lottery where $10 tickets are available to each performance.

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It’s not often you hear about a hilarious black identity-politics play. So when we heard that Crowded Fire Theater was doing the Bay Area premiere of Korean-American playwright Young Jean Lee’s play, The Shipment, we knew it was time for a night of Drama Talks & Drinks.

William Hartfield and Nican Robinson open Crowded Fire’s THE SHIPMENT.
Photo by Pak Han

Brittany: I thought it was good. The opening was so energetic. From a theater-history standpoint the script was fun too. All the different vignettes were nods to different types of performance, from minstrel shows, to stand-up comedy, to Brecht, to a modern tv show. When viewed together they critiqued the way African Americans have been and are portrayed, but it did so without forcing the audience to sit through a history lesson.

Katie: I liked the different pieces individually, but despite some strong performances, I don’t think it flowed very well between them.

B: You’re right. It took me a minute to get into each piece. Once I got into it, it was great, but those transitions felt abrupt.

K: I constantly felt like I was playing catch-up when a new section began, because you had to get used to a totally different style of theater and different characters. An impressive feat for the actors. There were a lot of layers in there, which made it interesting, but I felt like I was missing a lot. I wish I had read the script first.

B: I do too, it was definitely a smart play. It left me more contemplative than emotionally impacted though. I appreciate that the final piece made the audience confront implicit biases, but I wish there had been a call to action. Laughter is a place to start, but I don’t think it pushed the audience far enough given our current news cycle.

K: Crowded Fire is doing cool new works though, and I appreciate that. It’s important that they’re supporting writers of color, actors of color, directors of color, and bringing in more diverse audiences. This play hit all those marks, and I enjoyed it.

The Verdict: Go see it! It’s an interesting play, with strong performances, and an important message.

The Drama Talk: While some of the messages in this 2009 play may not feel as revolutionary as they did when it originally premiered, it’s still a smart play which reminds us of the long history of racial bias in the media and thereby in our culture. It was an interesting and thought provoking night at the theater.

The Drinks: Crowded Fire’s theater tends to get pretty warm. Warm enough that the night we went they had fans on everyone’s seats.  After the show we needed a refreshing drink to cool us down so we headed up the hill to Bloom’s Saloon for great views and cheap gin and tonics.

The Shipment runs through October 15th at The Thick House theater. Tickets range from $15-30 and can be purchased on the Crowded Fire website.

Gentrification is a frequent topic of conversation around these parts. However, recently it’s felt like the tone of these conversations has shifted, from one of righteous indignation, to that of resignation. Two years ago DT&D had the good fortune to interview Eric Reid, Co-Founder and Artistic Director of Theater MadCap, who also used to run CELLSpace/Inner Mission SF before it was lost to The Beast on Bryant. Eric, partially inspired by Theater MadCap’s displacement, teamed up with HBO Def Poet and Youth Speaks co-founder, Paul S. Flores, to produce You’re Gonna Cry, a one man show about gentrification in the Mission in the 90s.  Their goal is to make the gentrification conversation a little more action oriented. So off we went to Union Square (since their art space was gentrified out of the Mission) for some Drama Talk and Drinks.

Katie: It wasn’t exactly what I thought it was going to be. I was expecting it to be more innovative, with more spoken word and poetry.

Brittany: Yeah, it felt more like it was going for an Anna Deavere Smith vibe, lots of monologues around a theme. Some of the characters that were created were super compelling. I loved the immigrant mother with her daughter finding the old microwave on the street. Or the old women selling books. I wanted to know their stories. But despite some bright-spots, the pacing was off, and the show dragged for me.

K: The pacing was definitely a problem for me too. The transitions between the different characters took too long, and some of the staging was just wonky, like when he played all 3 characters at the same time. I don’t envy Flores, it’s not an easy show.

B: There were some technical problems with the TVs that were distracting too. This is a one man show, shit needs to be tight, and it wasn’t.

K: I appreciate what they are trying to do though, It’s important to have this dialogue. I also really appreciate that they had the post-show discussion with an activist. You want theater to inspire action, and it’s great they’re helping to direct people’s frustration about gentrification in positive ways.

The Verdict: The show needs some tightening, but the message is on-point. Making yourself a more empathetic and informed San Franciscan while supporting local theater is not a bad way to spend a night. Go and stay for the discussion at the end.

The Drama Talk: A play about gentrification in the Mission couldn’t even take place in the Mission because of gentrification. That’s pretty intense. The production itself could have been tighter. Slow transitions and some tech mishaps meant it lost some of its momentum and therefore emotional impact. MadCap’s website encourages audiences to “Come for the play. Stay for the discussion.” and we really appreciated the dialogue that happened after the show. Each night has a different local artists or activist who leads the post-show talk, so check the list below since discussion will vary dependent on who’s leading:

May 14th – Amy Farah Weiss – Homeless advocate.

May 15th – Norman will talk about wages and the struggle for gente to teach gente in the Mission.

May 20th – Adriana Camarena – Local Mission activist and author.

May 21st – Edwin Lindo – District 9 Supervisor candidate.

May 27th – Luna Malbroux – Comedienne/Community activist.

The Drinks: Afterwards we went to Benjamin Cooper, which was literally right next to the theater entrance. Exit the building, make a left, then an immediate second left into an unmarked door, up the stairs to a small cocktail bar. When you enter go right and head to the back, there are usually a place to sit. And after a discussion about SF’s housing crisis you will need a strong drink.

You’re Gonna Cry runs through May 28th at The Phoenix Theater. Tickets are available through the MadCap website and are $20.

Normally DT&D tries to take the guess work out of going to theatre in the Bay Area by providing brutally honest reviews of the shows we see. But we also don’t want you to miss out on what might be a very cool show, just because we haven’t had the chance to review it yet!

With only a two day run of Moments From The Bubble, Or: How The [Google] Bus Stops Here, a playwright-driven community action project created in collaboration with Z Space and the 1 Minute Play Festival, there’s no way we’d be able to review show before the run is over. Given what is currently happening in San Francisco (and even more rapidly the Mission), we thought you might want to see it anyway without our official endorsement.  To help inform your decision here are more details from the event description:

The drastic changes happening to the neighborhoods and communities in the Bay Area is quite staggering. I don’t think the national zeitgeist quite understands what’s happening here. San Francisco is becoming the most expensive city in the world, and it’s at the expense of everyone and everything that makes is special”, says 1MPF Producing Artistic Director, Dominic D’Andrea. Stressing that the work is designed a social “barometer” project to unearth connections in the zeitgeist via themes, ideas, and trends, D’Andrea says, “When we did our annual festival in partnership with playwrights foundation over the past two years, the topic of gentrification was so charged, so present, so immense, that we decided to come back to make an entire other project dedicated to digging into these topics, and what it means for the community. This is our artistic response to what’s happening. It’s part play festival, and part community action.

If that sounds as interesting to you as it did to us, you can check out Moments From The Bubble, Or: How The [Google] Bus Stops Here, this Saturday June 27^th at 8PM and Sunday June 28^th at 3PM and 7:30PM at Z Below (470 Florida Ave).  Tickets are $20 and available for purchase at http://zspace.org/new-work

We’re going Saturday night, so if you see us, say “hi!” Or if that’s too weird, just let us know what you thought of the show in the comments. Hope to see you at the theatre!

SF “fun” fact: Lena Hall, who originated the role of Nicola in the Broadway production of Kinky Boots, was in my high school class at School of the Arts, back when it was still behind SF State University. So she’s there, and I’m typing this, so obviously we are both shining our bright lights. Anyway, enough about me, Katie & Brittany checked out the local production of Kinky Boots last week, their reactions split down the middle. Here’s their review:

When it’s rainy in SF it’s a challenge just getting out of the house. But when presented with the opportunity for drag queens, fabulous boots, and a night out at The Orpheum, it’s hard to say no. So we braved the monsoon to go see SHN’s latest tour, Kinky Boots.

Katie: I hate to say it, but I’m a little disappointed. Going into this show all I knew was that Cyndi Lauper wrote the music, it won the Tony, and there were drag queens and boots involved. But given Cyndi Lauper’s LGBTQ advocacy, I thought it was going to have more substance and innovation. I guess I was expecting something more like Rent, but with fancier shoes and a few more drag queens. I came in hoping for cutting edge musical theater that would entertain you and make you think. All that kind of bullshit I love. This was just a little forced.

Brittany: That’s so funny. I had the exactly opposite reaction. I was actually pleasantly surprised. I didn’t think I was going to like this show because I had a feeling it was going to be way too fluffy, but it was actually a bit deeper than I thought it might be. I mean it’s a show about shoes, but there were moments.

(more…)

Interview edition! Here’s Brittany and Katie’s report:

A few days after Brittany attended a Jazzy-Hip-Hop dance class at City Dance, a review request came across the DT&D desk (aka email) for a new musical, Mr. Irresistible, by D’Arcy Drollinger & Christopher Winslow. Still sore from all the booty-popping, Brittany recognized D’Arcy’s name as her fabulous dance instructor. We decided this would be the perfect opportunity to do a pre-show chat and get our groove on. So we donned our spandex and leg warmers, and went to D’Arcy’s Sunday Skool Sexitude dance class. After an hour and a half of sexitudeiness, we sat down with D’Arcy to get the scoop on his new show Mr. Irresistible that opens tonight!

Brittany: How did Mr. Irresistible come to be?

D’Arcy Drollinger: When I first moved to New York, I had a dare going with my friend. She was going to write a novel in 45 days, and I was going to write a full musical in 45 days, and so that’s actually when I started writing Mr. Irresistible, early in ’98. Flash forward to about a year ago, I had been talking with the artistic director at ODC, and I told her about this show I had never completed, and she liked the idea, so I began an artist residency at ODC. At the time I was also working on a different piece with Christopher Winslow, the composer of this show, a musical parody of Flowers in the Attic. So I asked him if he wanted to take a break from that and work on Mr. Irresistible. We spent six months tearing apart the old show, rewriting the songs and putting it back together. After readings at ODC, La Mama offered us a two week workshop in New York, which sold out, then we got a letter from SFAC that we got a seed grant to produce the show here and add in a lot more of the video elements, so we started looking for a theater.

Katie: Tell us a little about the show.

D’Arcy: This show starts as a real traditional musical, and then about ⅓ the way through it, it turns into a horror musical, when Mr. Irresistible starts killing everyone because he doesn’t understand metaphor. At the end, it turns into The Terminator, an action thriller with laser fights. It gets a little dark and heavy, but it’s still a happy ending.

K: I hate to be the person who asks this, but are there “concessions”?

D’Arcy: There are drinks, people can can buy booze before the show, and during intermission. Unfortunately it can’t come into the theater.

B: You’ve worked and lived in NY and SF, but made SF your homebase, how’s it working out for you?  Is this a viable place to make a career as an actor or artist?

D’Arcy: I was born in San Francisco, and then in junior high we moved to Nevada City, so I grew up there. I came back to SF for college at SF State, then a few years after college I was transferred to New York for work. New York is such an industry. I was missing the lifestyle here. The food, the mellow pace. I love New York, especially for the theater and the dance, but it has been better for me to be a Bay Area local artist. I have a community here that rallies around what I do. I think that’s the great thing about San Francisco audiences, they really rally around things. I’ve been making a decent living here making theater, which is CRAZY. If I didn’t know anybody here, I don’t think this would be the first place I would come to do theater. As I’m sure you know, in the last couple years this place has become so expensive and so many small venues have had to close. But there’s a lot of community support that’s hard to get like somewhere in New York.

K: What do you think about the future of theater and arts in San Francisco?

D’Arcy: I wish places like Google and Twitter would invest in more nightlife experiences for people that work for them that aren’t just bars. To keep this as a first class city we can’t destroy the downtown underground arts scene, and only have the big touring shows and a bunch of bars and nothing in between. People want hip stuff to do. I did a lot to make Rebel into a cabaret space, because there wasn’t anything like that, and now someone bought the building and is turning it into condos. I’m working very hard with some partners to create a cabaret space within a bar, where we can have a little more security knowing the building won’t be sold out from under us. But we need more viable nightlife, and a place for smaller productions.

B: What is your hope for Mr. Irresistible next?

D’Arcy: I’ve done nine musicals, and in a way this feels like my most commercial venture. It’s wacky, it has the love story, the thriller aspect, you’ve got your gay characters, you’ve got your drag queens, you’ve got Joey the Exterminator who the straight guys can identify with, it’s got the Sci-Fi aspect so all the Sci-Fi nerds can geek out on that. I could see this being a fun regional show. Start with a bigger production here, and then tour it, but with San Francisco roots. I can’t wait to show it to everyone. I feel so fortunate.

Mr. Irresistible runs June 4 – 8, 2014, Wednesday – Saturday at 8:00 pm and Sunday at 7:00 pm at the Alcazar Theatre (650 Geary St. in SF). Tickets are $25 each and can be purchased on the Mr. Irresistible eventbrite page. There are also half priced tickets available on Goldstar. Even if you can’t make it out to this show, make sure to check out one of D’Arcy’s incredibly fun sex-positive dance classes, or another one of his many upcoming shows.

Show love for your Bay Area actors, and do your part to keep SF a first-class arts city.

From the Fayes blog:

I was an extra on the set of The Master.  If you’ve see the show Extras or done extra work or known someone who has, then you already know that extra work is not glamorous, it is depressing and is never a career move for aspiring actors or filmmakers, and it’s rarely fun.  I was almost gone, moving away for what I thought would be forever, and had no interest in the gig.  Also, I had no transportation and the shoot was up north.  When you get a call for one of these gigs you have to ask what the film is about and who is making it.  Out of curiosity I asked.  When I was told that it was P.T. Anderson’s new film, staring Philip Seymour Hoffman, Laura Dern, Joaquin Phoenix, Amy Adams and that I had been selected for my “classic look,” the compliment went to my head and I became full of fantastic ideas about my all but sure discovery by my favorite American director as his protégé.

Read on.

The fine folks over at PianoFight invited our theater reviewers, Katie & Brittany, to a shindig in the space their working to convert into a theater with a bar and restaurant, here’s what they had to say:

We love supporting local theater. Invite us to the latest theater thing opening up, and we’ll be there with bells on, if we can find our bells. We may not always like what we see, but we write this blog because we think theater is important, and everyone should see more of it. We just hope to direct you to the more of it that’s worth seeing, so you don’t have a bad experience and then never want to go again.

We’ve been super excited to hear about the development of PianoFight’s new theater venue opening up in the TL (hopefully) in March. “An 8,000 square foot creative playground containing two theaters, a full restaurant and bar plus cabaret stage, rehearsal space, office space, and a film studio. PianoFight will be a landmark entertainment venue, a creative meeting place, somewhere to have a drink, see a show, or create art at the spur of the moment…”

On Tuesday night they hosted their first party in the nearly-complete venue, to launch their final Kickstarter. Free booze, fun sketch comedy and a new SF theater venue? Of course we went.

Our First Reactions:

Brittany: It looks like it’s going to be really awesome, and it’s a lot more space than I expected. It will be really neat to see what ends up getting created here.

Katie: It looks like they still have a lot to build, but I think it’s going to be a cool space once it’s finished. I don’t know how they’re going to manage acoustically with the bar/restaurant right next the theater. Let’s hope it means there are going to be some rowdy fun shows.

The Drama Talk & Drinks: There was PBR on tap, and the wine flowed freely. Once this space is completed it seems like it has a lot of potential, not just as a place to see theater, but as a place to create. The PianoFight crew has a little over 30 days to raise the last $120k they need to finish construction. Check out their Kickstarter if you’re interested in supporting them. Afterall, who doesn’t want Californicorn swag, and another cool theater and art space in the city.

Brittany and Katie are on a roll, seeing some really great theater around town. Here’s their review of Porgy and Bess:

http://youtu.be/14ZD4OsCJXA

After speed dating the cast and creatives of the touring cast of Porgy and Bess, now playing at SHN’s Golden Gate Theater, we were excited to see them in action. Donning our Julia-Roberts-in-Pretty-Women opera wear, we headed to the theater for some Drama Talk and Drinks.

Katie: I liked it (laughs) . . . I mean opera isn’t my favorite, but I really enjoyed this story. Everyone was really talented and I cared a lot about the characters. I was moved by this play.

Brittany: I think what was remarkable about this production is that they did such a good job of making the opera really raw. They brought a slightly more contemporary way of singing to some songs, which I liked, but it still honored the opera tradition. If you are a purist, some of these numbers may not sound like you remember, but I think it translates well for a new musical theater audience. The way they brought the wailing and the opera together. Their crying was singing, and their singing was crying, and I loved that.

K: Yeah, The music was beautiful. The struggle really spoke to me. The love between Porgy and Bess – I don’t know if you’ve noticed, but I’m a closeted hopeless romantic – that story kept me engaged. All I can say is it was passionate and beautiful, everything I think an opera wants to be.

B: It was a beautiful production. The costumes were beautiful. ESosa created clothing that made the actors look great. The lighting was my favorite part. I thought it was perfectly done, and did such a good job of directing your attention in subtle ways. I thought every single one of the actors had a deep and awesome backstory, and it was great to see those develop throughout the show.

The Verdict: This is a beautiful revival. If you aren’t an opera person, this could be a good way to get your feet wet. It has the operatic qualities, but also falls back on the Gershwins’ jazz influences throughout the production. If you’re a Porgy and Bess purist be warned, this production moves a lot faster than the original opera, which may not be a welcome change (it wasn’t for the Porgy and Bess superfan we went with, although he still enjoyed the show). If you really can’t stand opera, Porgy and Bess probably isn’t for you no matter how good or short the production. The folks we chatted up at Mr. Smith’s after the show were admittedly not opera people, and haven’t been to a musical in years. They were significantly less impressed than we were.

The Drama Talk: Porgy and Bess started as a book that explored the Gullah culture and the lives of African American fisherman on “Catfish Row” in South Carolina. The story was first turned into a play, then Gershwin turned it into an American folk opera in 1935. Many opera companies were uncomfortable staging it because Gershwin insisted it be played by black performers, so it was first performed as a musical. This revival honors that history, from it’s Gullah roots to its civil rights undertones, rounding out with 1930s jazz influences. In doing so it creates a layered and beautiful production of this classic American opera.

The Drinks: Mr. Smith’s is right around the corner from SHN’s Golden Gate theater, on the corner of 7th and Market. But despite it’s convenient location, the trek through Mid-Market is evidently too much for many theater goers, because they were empty and about to close when we arrived after the show. The bouncer, Jerry, and bartender, Mike, were true gems, and invited us in for a final drink. We had delicious craft made cocktails, Brittany got the Marmalade Sour and Katie got the 7th Street Gimlet, and we had a great conversation with a few fellow audience members about the show and theater in San Francisco. That’s what’s great about mixing theater and drinking, it brings strangers together.

Porgy and Bess runs through December 8th at SHN’s Golden Gate Theater. All tickets are subject to dynamic pricing based on demand, but prices seem to range from $40 – $210, and are available through the SHN website.