“The Comedy of Errors,” SF Shakes

I am happy to report that this year SF Shakes has a new sound system. Each person on stage now has their own microphone, which they wear throughout the show. I believe this is the first year they have done that. The sound was improved last year, but at this show it was even better. Shakespeare’s beautiful words can now be heard as they were meant to be heard, with depth, clarity and nuance.

And spoken by a great cast. These people know how to talk the talk. The show was “The Comedy of Errors,” and it was Burning Man Shakespeare, as if the town of Ephesus was actually Black Rock City and everyone was wearing wildly colored wigs and make-up. It actually helped make the play more believable, if that’s possible. You see, the plot is about (among other things) these two sets of twins who were each separated at a young age. Then they all end up in Ephesus, but neither twin knows his identical long, lost brother is town, so there is all this mistaken identify stuff and other confusion. And if it was taking place at Burning Man, and everyone was in some kind of altered state, and running around in the hot sun all day, then that might explain why none of the characters could figure out what is going on.

But we don’t really need this to be plausible, do we? It’s Shakespeare, and we got it performed in a most entertaining way, and when that happens the story becomes real. SF Shakes does it again!  As I said last year, they’re a  local treasure. After the show on the bus home I talked to a couple of tourists from Wales who had made the effort to see the play. Now that’s a vacation. It’s things like SF Shakes that make this City great. I love seeing the Main Post Parade Ground Lawn of the Presidio covered with blankets, and people sitting on them eating, drinking and digging the scene. Lots of them are families, and they bring their kids, and the kids sit there quietly for the whole show. Wow! That speaks volumes about what was happening. SF Shakes is showing the next generation of theatre-goers how wonderful a live play can be, and that is quite an accomplishment. (They also have a touring company which does abridged version of plays at schools and other places – last year I got to see a 50 minute version of “Romeo and Juliet” in the West Portal Library.  It was outstanding.)

I have been doing this blog for almost a year now. In that time the planet has taken a trip around the sun, the seasons have gone through their cycle, SF Shakes has done their annual play and I have gotten to write about it again. I am looking forward to experiencing all these things again in the future. And I have something else to say about the future: The Presidio is where the United Federation of Planets is going to build  Starfleet Academy. Hey,  I like “Star Trek” and Shakespeare! Two years ago I went to London and saw Patrick Stewart, who played the captain of the Starship Enterprise, playing Prospero in The RSC production of “The Tempest.” Anyway, as I looked around at the Presidio between acts of “The Comedy of Errors” I imagined what it would look like centuries from now. And I hoped that when Starfleet Academy is there, that SF Shakes will still be there too. Live long and prosper!

http://sfshakes.org/park/index.html

Outside the Novello Theater, London, 2007

Gorky, Cherry, David, Julie and Alice

I haven’t posted to this blog recently because I’ve been pretty busy. But I have still managed to see at least one play a week during that time. I’m going to write some thoughts about a few of them to try and get caught up, and then I hope to begin posting again regularly. The best play I have seen so far this year was ACT’s production of Maxim Gorky’s “Philistines” at the ZEUM. The play was written in Russia right before the revolution, and as I watched it I could feel the tension and passion of that time and place. The whole story took place in one family’s living room, with a cast featuring veteran San Francisco actors and third year grad students from the ACT Conservatory. I was so excited that I went looking for a copy of the play to read it. The only one I could find was a 1906 translation that was called “The Smug Citizen,” and it was only available on Google Books. So I read the whole thing online, which was another new experience for me. 

On March 4^th I went to The Marsh on Valencia. Cherry Zonkowski did a solo performance called “Reading My Dad’s Porn and French Kissing the Dog” for the “Marsh Rising” series. Her title was kind of misleading, because that was only what a small portion of the show was about. A more accurate title might have been something like “The Secret Life of a Freshman Comp Professor.” Cherry wrote and starred in the show. She is a talented storyteller and a natural actress – she successfully played many different characters while simultaneously narrating what was going on. I think this was her first time on stage and it was an impressive debut.

More recently I saw two plays that had similar structures: They both took place in one room in one night, featured drinking, deception, and (off-stage) sex, and had casts of three people. The first one was “Skylight,” written by David Hare, and it was at the Shotgun Player’s Ashby Stage. The acting in this was awesome. It took place in contemporary London, and started off slowly, with lots of details about what it’s like to be young and poor in a small apartment on a cold winter night. I liked the way the play was written, and how it gradually revealed the history between the characters. By the end of it I had gotten to know them and understood why they behaved the way they did. It had an ending that was unexpected but an appropriate conclusion to the story.

The next week I saw Aurora Theatre’s staging of August Strindberg’s “Miss Julie.” This was the seasonal opposite of “Skylight,” taking place on a hot Summer Solstice somewhere in the country in Sweden in the 1800s. “Miss Julie” was a horror story, featuring miserable, manipulative, unlikable characters who seemed to have no redeeming qualities. But for some reason I enjoyed it – I’m not sure why. It was definitely a beautiful production, with a great cast, set and costumes. Perhaps I liked it because after Miss Julie slit her throat open onstage I was happy to return to the world I live in, and grateful that I didn’t have to stay in Strindberg’s. (Apparently he wrote this play while on an absinthe binge.)

And finally on the last Sunday in May I had the pleasure of seeing The Move-About Theatre Company presenting “Alice in Wonderland.” I really learned a lot about what makes theatre work by watching this. I realized that theatre is all about imagination. Because when watching a play it’s obvious we’re just watching people playing parts, and we’re in the same place they are. But if all the various elements of the production fall into place, we can imagine we’re somewhere else and even though we know it isn’t real on a certain level it seems like it is. This is why I like going to see plays more than movies these days, a reversal of a lifetime habit. Because even with the best of today’s digital visual and sound technology, a movie doesn’t stimulate the imagination like a live play does.

Which brings us back to “Alice.” It was staged in Golden Gate Park. The company were all high school students, and they found these various existing locations in the Park that worked perfectly as sets for scenes in Wonderland. We, the audience, followed Alice around as she fell down the rabbit hole and yes, it seemed like we were actually there. The cast was quite good, all of them somehow managing to change costumes and show up at the next scene in character. And the whole thing also worked (probably unintentionally) as a tribute to San Francisco’s psychedelic past. Because the Jefferson Airplane used to live right across the street from the Park, at 2400 Fulton. And there they were – the White Rabbit and Hookah smoking caterpillar!

The play started at 6:30 in the evening and when it was over I looked around at everyone in the audience. They were all bundled up in layers of coats, sweaters and scarves. And it was windy, and damp, and just freezing out. And we had all just had a great time watching a play. And I was so happy, because that could only mean one thing: It’s summer in San Francisco!

Pax,

Vox

“A Midsummer Night’s Dream,” Impact Theatre

The 2009 Bay Area Shakespeare season has begun. Not in a park, or in a theater, but in the basement of a college pizza parlor. On the first floor there was a basketball game on TV, a pool table, a picture of Paul Newman and Jackie Gleason in “The Hustler” on the wall, and people pouring pitchers of beer. Walk down the narrow stairs and there it was: Impact Theatre’s awesome new production of “A Midsummer Night’s Dream.”

Director Melissa Hillman set this “Dream” in a 1980’s nightclub underworld, with all the appropriate music, clothes and behavior. When the Goth Faeries were on stage it was like watching an early MTV video, back when a whole story was told in one short song with a lot of quick edits and dazzling, cinematic movement. Titania’s dialogue was trimmed, but the scenes between her and Bottom, who was played by another woman, were hilarious and hot. The two excellent actresses got right to the essence of what was happening.

In keeping with the eighties theme, the scenes with the Athenian royalty and the rude mechanicals were done in the style of an SCTV sketch. A good choice – I always thought that show was funnier than “Saturday Night Live.” The cast of SCTV were good actors, and mixed in serious literary and artistic references with their pop-culture satire and slapstick humor.

Impact’s “Midsummer” really sparkled when the new wave Oberon and punk Puck began to mess around with the two pairs of young lovers. The lovers actually had distinct personalities; as written, they’re almost interchangeable. This time I could actually tell the difference between Demetrius and Lysander and Helena and Hermia. Not only that the characters, as performed, had real depth and motivation.

The big scene where they all fight while Oberon and Puck watch was brilliantly staged. They delivered their dialogue sharp and staccato, like they were in a 1930’s screwball comedy movie. And the fight choreography was equally fast and funny. The audience loved it. I’ve seen this play many times and I, personally, don’t remember laughing as much as I did at this performance.

I was around back in the eighties, and was probably about the same age then as many of the cast members are now. So, this “Midsummer” had a certain dream-like quality for me. It’s amazing how a play that was written 400 years ago can, it seems, have so much to say about other times and places. I don’t want to over-analyze it, but I’ll likely be going back to check it out again. If nothing else, I’m sure it will be another entertaining evening.

Pax, Vox

http://www.impacttheatre.com/

THE EDWARDIAN BALL WEEKEND, Jan 23-25, 2009

 

The Edwardian Ball, which happens every year in San Francisco, started nine years ago as a one night performance in a small, dark Folsom Street bar and has grown into a major social and theatrical event. The very first one featured the band Rosin Coven playing while actors and dancers performed a story from one of writer/artist Edward Gorey’s books. Every year since then the performances of the stories have gotten bigger and more elaborate, and so have the audiences. Somewhere along the way the historical re-creation crowd discovered the Balls and started showing up in real Edwardian clothing. Now almost everyone who attends dresses up in some way or another.

And it is surprisingly wonderful to be in a large crowd of people dressed in period costumes. Especially when they’re not all from the same period – some were from fantasies and alternative histories, some were characters from books (including Gorey’s and the science-fiction steampunk universe) and some seemed to having wandered in from Burning Man. The audience was as much a part of the show as what was happening on stage – kind of like it used to be in the early days of punk. The overall affect was of being in some other world. They were even serving absinthe! I don’t drink alcohol, but it was fun to watch the whole ritual that makes the absinthe turn green. And I got to meet the Green Faerie – she was mingling in the crowd and fit right in. It was that kind of weekend.

The first night had the theme of “The Edwardian World’s Fair.” There were steam-powered inventions set up throughout the Regency center, including a time machine motorcycle in the lobby. (Its inventor had successfully channeled the spirit of George Pal.) On stage first was the band “Abney Park.” Rumor has it that they were from some place called Seattle, but they claimed to have “come from an era that never was, but one that we wish had been. An era where airships waged war in the skies, and corsets and cummberbunds were proper adventuring attire.”

Friday’s headliners “Rasputina” were, according to their official history, “formed by cellist/singer Melora Creager in 1891.” Well over a century later Creager still looks great in a corset, and continues to be backed up by another cello player and a percussionist. They might actually be Victorian, not Edwardian, but they fit right in when they took the stage after midnight –  their music was appropriately dark and mysterious.

Saturday night was “The Edwardian Ball” itself, featuring three one-act plays that were staged by house band Rosin Coven and the multi-talented Vau De Vire Society. Their first story of the evening was an original, a tribute to writer/cartoonist Edward Gorey. He lived in New York and, when George Balanchine was alive and choreographing, Edward Gorey went to every performance of the New York City Ballet. He always wore a full-length fur coat, lots of outrageous jewelry, and sneakers. The ballet was one of his inspirations, and the dancers were his muses. So, at the Ball, while Rosin Coven accompanied them with a slow blues, the Vau De Vire Society danced and played cartoon ballerinas, and the character of Edward Gorey brought them to life and then cleverly killed them off.

The second play was a dramatization of Edward Gorey’s short story “The Disrespectful Summons.” For this one Rosin Coven was joined by guest artists Cirque Berzerk. “The Disrespectful Summons” is about a woman who sells her soul to the devil and pays the price in the end. But of course as Gorey wrote it , it was all very clever and entertaining.

And this was all just a warm-up to the grand finale, an epic staging of Gorey’s  “The Tuning Fork.” The original story is only 168 words long, with 16 black and white illustrations. In the Regency Center Ballroom that night it was magic – a fantasy that was made real. This was the first year the Ball has been in actual ballroom, and it has a big stage. The Vau de Vire society are, among other things, talented circus acrobats, and they finally had some room to show off what they can really do. The combination of acting, dance, music, costumes, puppets and computer technology, and the particular time and place, was radical, beautiful and unforgettable.

Pax,

Vox

http://www.edwardianball.com/

 

 

“All’s Well That Ends Well.” San Francisco Free Civic Theatre.

One of the things I like about going to plays is that I get to visit places I’ve never been before. And that could be interpreted in two ways: when I watch a play what usually happens is that I enter into a world that is different from the one that I live in. But what it also means is that as I find out about new productions I see plays performed in a surprising variety of interesting spaces. San Francisco Free Civic Theatre provided both experiences last weekend with “All’s Well That Ends Well.” I’d never heard of them until the night before I saw the play. They are, it turns out, sponsored by the San Francisco Recreation and Park Department, and they put on shows in these hidden little theaters in buildings that are owned by the city. What a great idea!

“All’s Well That Ends Well” is one of Shakespeare’s “problem” plays and, even in the summer festival season, it is not often performed in the Bay Area. I am a big fan of Shakespeare’s plays so it was like an early holiday present to be able to see it in the winter when many other theater companies are doing “The Christmas Carol” and that kind of stuff. This “All’s Well” might also appeal to those who are fans of Tim Burton movies like “The Nightmare Before Christmas,” “Corpse Bride,” and “Edward Scissorshands.” The make-up and costumes were all very goth, and it seemed to fit the very strange and twisted love story that “All’s Well That Ends Well” is. (And for those who have a hard time following the story, there is a 4-page scene by scene synopsis in the program!)

Amy Boulanger, playing Helena, and Robert Cooper, playing the king were both excellent – there was chemistry between them, and they brought something new to those roles that I’d never seen before. There was real heart and soul in their scenes together. But the rest of the cast were also quite good – this is obviously a labor of love, and they all seemed to be having a good time putting on a show for their community.

And it is, of course, a community that you can still be a part of. This weekend the play is being performed within walking distance of the Castro Muni Station, so it’s very accessible by public transportation. And, as their name says, it really is free:

http://www.sffct.org/playing.html

Pax,

Vox

“The Monk,” No Nude Men Productions

Wow, this was insane. But really good! For the duration of the play I was inside the minds of people who were experiencing insanity, or something like it. Or at least that’s what it felt like. The play was constantly shifting points of view, and realities, and what was going on wasn’t always clear. But that was part of the pleasure of being in the audience. “The Monk” was full of surprises, right up until the very end. So I can’t really say what the story was, not right now, right after I’ve left the theater and haven’t had time to really unravel it and read the program notes and the souvenir comic book I bought afterwards. The thing that is most in my mind right now is that this was a tale about telling tales – and it was very well told.

The cast was really talented, and well directed. They were able to weave in and out of all these complicated things that were going on, but at no point did I lose interest. Quite the opposite – I was fascinated by it. This is the third production I’ve seen from “No Nude Men,” and I’m really impressed with how they put on a show. I loved their updated versions of “Love’s Labors Lost” and “Hamlet.” “The Monk” was, at times, spooky, mysterious and funny, which makes it a perfect play to see around this time of year. Halloween is over, but it gets dark earlier and the nights are longer, and it’s the season for ghosts, murder and magic. It was also a good neighborhood to see it in: the second act of the story takes place in catacombs and tombs and underworld labyrinths, and when I walked outside afterwards I felt like that’s where I was.

Whew. I’ve only been doing this blog for a couple of months, and I usually wait a few days to write and post my comments after I see a new play. But it seems like a gut reaction is appropriate for “The Monk,” so I’m going to go ahead and put this online less than an hour after seeing it. The play was an intense, visceral experience, and this is my reaction. But I don’t want it to sound too creepy – it was fun! Go see it!

Pax, Vox

http://www.theexit.org/now.html

http://www.myspace.com/ambrosioandmatilda

“VERA WILDE,” Shotgun Players

There are certain things that Shotgun Players does that I feel very comfortable with, and I mean that in a good way. For most of my life, up until a few years ago, I wasn’t a regular theater-goer. I spent decades going to rock concerts and clubs, and before that I spent most of my free time reading comic books. Shotgun’s graphics are done in the rock poster format, an art form I know well. Their programs are laid out in the same style and size and printed on the same paper as comic books are these days. So going to any show at The Ashby Stage is a nice transition from my neurotic past to my self-actualized present. I feel at home, but I am also on the way to something new and more interesting.

“Vera Wilde” was very new and very interesting. It was based on historical facts, most of which I didn’t know. So from beginning to end I was spellbound by the story that was being told, and the way it was being told. I hope some high school and college students got to see this, because it was an entertaining approach to subjects that can be very dry in the classroom. Oscar Wilde I knew something about, but there were certain things that he did that I did not really understand just why he was doing them. This play was a good look at his emotions, and what motivated him. Vera Zasulich I had never heard of before I walked into the theater, and I was just amazed to find out that somebody like her had actually existed. She was awesome! By the end of the play I had something of a crush on her character, I guess you could say. For a play to make a 19^th century Marxist that appealing was quite wonderful.

Director Maya Gurantz did a great job with a small cast that played many different characters. They were able to move the story back and forth in time, between different countries and cultures, using minimal props, scenery and costume changes. And I was right there with them – I got caught up in the whole story, and with what they were doing. I am always amazed when I see a play and one of the actors can change their hat or their accent and suddenly become someone completely different, or take me to a different place. And that went on all evening.

The music and choreography were well integrated into the production. Like everything else, they helped create the characters and tell the story. Another thing I really liked, and this is something that I see at every Shotgun Players show, is the way the lobby was decorated. There were altars for Vera and Oscar set up in the hallway leading into where the play was performed. I wonder how many people walked past them and didn’t even notice? But I noticed, and I kept going back and looking at them. I think the Ashby Stage used to be some kind of church, and there is still an atmosphere of reverence there. And that is very comforting.

Pax,

Vox

http://www.shotgunplayers.org/

“MACHINAL”, “GOOD BREEDING”

I recently saw two excellent college productions of plays. The first one was “Machinal,” by Sophie Treadwell, at San Francisco State University. They have a really good theater department – I’ve seen several Shakespeare plays there, and I usually try and catch their spring musical. But I knew nothing about this play before I went there. It was written in 1928, so it was like a history lesson to me. The only thing I had to compare it to was some movies and art that were made around that time. When it was first performed it must have been considered quite radical and shocking. Even today it seems bold – I guess that says something about some things that haven’t changed much in the decades since then. The play dealt with murder, politics, feminist issues, and more, but not in a melodramatic or sensational way. I liked the way it was written. I was quite moved by the whole thing.  It seems like schools are one of the few places to see great neglected plays like this one, and I am glad that I got the opportunity. In December SF State is doing Tom Stoppard’s “Arcadia.” I’ve only seen that once, and that was in the 90s at ACT, when their original theater was still closed from earthquake damage. I’m looking forward to seeing it again. I hope that it has some of the same cast that was in “Machinal.”

The next week I saw “Good Breeding,” by Robert O’Hara, performed by American Conservatory Theater’s third year graduate students at the Zeum Theater. I go to see just about everything ACT does, and their student shows are almost always as good, if not better, than the ones at the big theater. They have talented people acting in them, and professional production values. For this one they remodeled the interior of the Zeum Theater, including carpeting the entire floor right up to the front row. When I went inside after giving my ticket to the usher I had to walk on it to get to my seat. The affect they were trying to create, and that they succeeded in doing most spectacularly, was to turn the Zeum into a l970s New York City disco. There were also elements of seedy 42^nd Street movie theaters and Times Square arcades thrown in.

The play itself was an updating of Greek mythology, and was staged with the Gods, Goddesses, heroes and heroines portrayed as characters from 1970s exploitation movies (including the kung-fu, blaxploitation, low-budget horror, and soft-core porn genres.) That doesn’t even begin to describe what this play was like, and what it was like to watch it. It sounds stupid, right? In fact, based on the description I read of it beforehand I almost didn’t go. But when I finally went I liked it so much I went back again the next night. A production like this has to be experienced live to be fully appreciated. I can say this much: The ancient legends were brought back to life! They were right there, in the flesh (so to speak.) All the weird and different elements that went into putting this on came together. Wow!

A few words about the play itself: “Good Breeding” was based on an ancient Greek trilogy of plays, but it wasn’t just a clever modern retelling – well, it was that, but it was more. It was a look into what mythology is, who the Gods and Goddesses are, and what our relationships, as humans, are to them. It was about what it is to be a God, to be a human, and what freedom anyone, mortal or immortal, has in controlling their own life. This play has only been staged twice, both times at schools. I hope it gets produced again. Like the gods themselves, “Good Breeding” deserves to live on.

And a few words about the ACT graduate students: when they finish this school year they go off to New York to audition and begin their professional careers. It’s too bad the casting people they’ll be performing for couldn’t have seen “Good Breeding.” It was quite a showcase.

Oh, and I have to mention one really cool thing that was going on in “Good Breeding:” There was a photo-booth that was part of the set. You know, the old kind with a curtain across the door, where you go inside and sit down for quick black and white photo strips. Well, the booth was used as the entrance to the underworld realm of Hades. And it made complete sense, and  explained so much to me…

Pax,

Vox

http://www.creativearts.sfsu.edu/

http://www.act-sf.org/

“Romeo and Juliet,” Curtain Theatre

This is my first post on my first blog. It is about a play I saw last weekend. I live in San Francisco, and I went up to Mill Valley to see the Curtain Theatre production of “Romeo and Juliet.” I really enjoyed it. Curtain Theatre does a different Shakespeare play every August outdoors in the redwood grove behind the Mill Valley library. This is one of the most amazing places on earth to see a weekend matinee, and I am surprised that more people don’t know about it. One of the reasons I have decided to start this blog is to encourage people to go see this kind of stuff. A lot of work, time and love went into putting on this performance. There are a lot of plays that I have gone to that have been very enjoyable and that, like this one, have not gotten much coverage by the local media. Or been seen by many people. Maybe by writing this I will somehow encourage someone to go see a play in the future, or write one, or to somehow get involved in the theatre community. Maybe by starting this blog I will meet somebody new! So here I go.

 

The play was performed in Old Mill Park behind the Mill Valley Library. There is a bare stage floor that has been there for a long time – it might even have been built by the WPA. On that wooden floor was built, for this particular production, not a backdrop but something that looked like the ruins of a Frank Lloyd Wright building. It was so well designed that it seemed real, like it was actually made out of stone. With the giant redwood trees rising up behind it the stage seemed like a temple from some lost civilization. When I walked into the grove I was transported into another time and place. Just being there was an awesome way to start the afternoon.

 

There are a few wooden benches built into the hillside facing it. Some of the audience sat on the benches but most people brought their own chairs, or else just sat on the ground on blankets. There was a lot of picnicking, and quite a few kids. Those lucky kids, even the really young ones, seemed to dig the experience. They sat still and were quiet and attentive till the end.

 

The performance of the play was, well, magical. That word tends to get over-used in reviews, but in this case I feel justified. When Romeo said, “It is the East, and Juliet is the sun,” Juliet was standing in a perfect shaft of bright sunlight that came down from between the trees. No team of Lucasfilm technicians could ever create something as beautiful as what happened by chance in that moment in nature. When the drugged Juliet is laid out in the Capulet’s tomb the sun once again cooperated, making her glow like a sacrifice on the altar in Stonehenge at summer Solstice. Wow!

 

Actors could easily get overwhelmed in such an atmosphere but the cast was talented and did a great job. They all knew how to do Shakespearean dialogue, and they worked together well as ensemble. I felt like these characters were real, and that Verona, wherever it might be, did indeed exist.

 

This was something of a violent, almost sadistic version of the story, but that is certainly one way of interpreting it. In her program notes director Julianna Rees wrote, “If ‘Romeo and Juliet’ is a famous love story, it should be known equally for its intractable cycle of violence and revenge.” And she proved it in her staging. The Capulet’s party scene had no dancing, but all the fight scenes were intense and carefully choreographed. Romeo (Benjamin Boulevalt) was not played as a sensitive dreamer. In this version he was dangerous and unstable. He reminded me of people I used to see around when I was in high school who were hard-wired to get into trouble. They didn’t seem to have any choice in the matter, or care. And somehow they always seemed to attract girls who, I used to think, should have known better! This Juliet, as played by Emily Hanley, was just that kind of girl. 

 

Dennis Crumley brought a lot of depth and humor to the character of Mercutio. There were, actually, many lines in this production of the play that made me laugh that I had never laughed at before. There is a lot of sarcasm in “Romeo and Juliet,” or at least it can be, and was, performed that way. The role of Benvolio was played by a woman (Lindsay Pratt), and she was very passionate with both Mercutio and Romeo. This was an interesting way of playing of the character. It proved that there are many different romantic relationships in “Romeo and Juliet” in addition to the one between the title characters. There are always new things to learn from Shakespeare’s plays, and new ways to look at them, which is why I go to see them over and over again. And as long as there are fresh productions like this one, I will continue to do so.

 

I don’t know if or when anyone will be reading these words I am writing. But this is a start. As Woody Allen once said, “Eighty percent of success is showing up.” I have now officially shown up. I have been inspired to do this, and maybe it will have some kind of ripple affect. Thanks to everyone who has inspired me.

Pax,

Vox

 

The Curtain Theatre | Free Shakespeare in Mill Valley