Praise for Sean Cawelti’s Puppets in the Pasadena Playhouse Production of LITTLE SHOP OF HORRORS

‘Little Shop of Horrors’ in Pasadena: Secrets of a radically reconceived Audrey II

“Strange.” “Weird.” “Exotic little beauty.” “Like something from another world.”

These are ways in which the plant of “Little Shop of Horrors” is initially described by its characters. They’re perplexed by its presence, its mysterious origins, its unidentifiable genus. But the botanical fascination is so enticing that it boosts the business of a skid row flower shop — and convinces its caretaker to commit a bit of murder in exchange for fame and fortune.

Countless stagings of the Howard Ashman-Alan Menken musical have remained visually devout to the sprout that debuted off-off-Broadway in 1982. Based on the 1960 Roger Corman cult classic and popularized by Frank Oz’s 1986 musical film, the Faustian fable has been mounted again and again with a green, podlike growth resembling a Venus flytrap and a bountiful head of lettuce.

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The 1986 film starred Rick Moranis opposite a pod-like creature, often re-created onstage.
(Warner Bros. / Shutterstock)

“The classic look can be nostalgic but also predictable,” said Mike Donahue, who directed the Pasadena Playhouse production set to close Sunday. “All of the language that’s in the piece is about how the plant stands out, how it catches people’s eyes immediately when people are walking by. There’s gotta be something about it that, in this drab and depressed and bleak world, just pops.” Advertisement

The Playhouse questioned those optical expectations and answered with a radical redesign of the plant, Audrey II, nicknamed Twoey. Housed in a large tomato can, its flower is a fantastic fuchsia hue, the five appendage-like tendrils glistening and sparkling. When closed, a bud of polka dot petals resembles a head with lips. It opens into a lily with a playful yellow tongue. This Twoey is indeed a new sight for those onstage and in the audience, and now that the run is ending, her secrets are being revealed in new photos presented exclusively here.

“I wanted to make something that seems alien and extraterrestrial but also that gives an emotional reaction — you can’t help but smile,” said Sean Cawelti, who led the show’s puppet design, direction and choreography. “And when the plant opens its petals for the first time and reveals what’s inside, it’s not inherently scary but surprisingly whimsical and magical.”

Twoey (also known as Audrey II), the carnivorous plant in “Little Shop of Horrors.”
With a new look and strategic puppetry, Twoey comes off as friendly and adorable to Seymour and the audience.
(Courtesy of Pasadena Playhouse)

Fear is the furthest thing from anyone’s mind during the song “Grow for Me.” A first version of Twoey — which “faints” via remote control — is swiftly swapped for a rod puppet plant with hard-to-spot cables controlled by three puppeteers under a metal table.

Read the full review by Ashley Lee from the LA Times here.

Patricia Cotter on ‘The Daughters’ and the Arc of San Francisco’s Lesbian History

Patricia Cotter poses with a Castro Street History Walk plaque honoring Daughters of Bilitis cofounders Del Martin and Phyllis Lyon.

Not far from where playwright Patricia Cotter lives in the Castro District, a bronze plaque in the sidewalk reads: “1953: Lesbian couple Del Martin and Phyllis Lyon move into their first home together in San Francisco on Castro Street. They help establish the Daughters of Bilitis, the first national lesbian rights organization, in 1955.”

Just a few blocks away, on 19th Street, is where the Lexington Club, affectionately known as the Lex, served cheap drinks from 1997 to 2015, when its closure marked the end of the last lesbian bar in San Francisco.

People stand outside the Lexington Club, a neighborhood lesbian bar in San Francisco. Photo: Preston Gannaway, Special to The Chronicle 2014

These two chapters of local lesbian history comprise the two acts of “The Daughters,” Cotter’s comedy whose San Francisco Playhouse Sandbox Series world premiere runs through Nov. 2 at the Creativity Theater. The Chronicle met with Cotter at Spike’s Coffee and Teas, also on 19th Street, to talk about the arc of history she traces in the show.

Q: What was the initial impulse behind “The Daughters”?

A: I think it was really at the closing of the Lex, which, honestly, wasn’t my bar. I had come to San Francisco later, so by the time I got here that wasn’t my coming up and coming out, going to the Lex. But it seemed like an icon leaving, its closing.

Wendy MacNaughton poses for a photograph in the Lexington Club’s infamous bathroom, for the Lexington Club Archival Project. Photo: Leah Millis, The Chronicle 2015

Q: What gave you that feeling?

A: It was a lot of women I know really grieving that it was closing. And then it’s like, “When was the last time you were there?” “Seven years ago, eight years ago.” … So if we’re not going — but then also the question, “Do we need it? Do we need a lesbian bar?” Because any bar can be a lesbian bar; it doesn’t specifically have to be one. But there’s something lost when you know this is the place where you’re going to be welcome.

I would have people in this neighborhood say to me, travelers, “Where’s the closest lesbian bar?” There isn’t one. Actually, there’s tons of queer bars, but (not one) specifically where you know it’s your place, where it’s created for you.

I think when (the Lex) closed, it got me thinking about lesbian history. I hadn’t really seen my history anywhere. I knew about Phyllis and Del. (They were the first legally married same-sex couple in California in both 2004 and 2008.) The play isn’t at all a biography of Phyllis and Del. It’s more of a tribute to the women who changed the world — in a room, at a party.

Phyllis Lyon (left) and Del Martin, who have been together for 51 years, are married at San Francisco City Hall by Mabel Teng. The longtime lesbian activists were the first same-sex couple to be married in the state. Photo: Liz Mangelsdorf, The Chronicle 2004

I was just so impressed with the risks they took. The women who started the Daughters were so different from each other. That’s all they had in common: that they were gay, that they wanted to meet other gay women, either to date or to just have friends, and they couldn’t do it in bars. They could, but you’re in danger of getting arrested. You’re in danger of a raid. There were tons of tourists at that time who would just come and stare at people.

We had a party for the Daughters, trying to get the word out (about the show). My friends threw it at their house, and there were tons of lesbians and straight people and gay guys. It was just a party, and I thought, “Oh, 60 years ago this was transgressive — to gather in someone’s home.”

It is specifically my history, but I’m kind of embarrassed by how little I knew about it.

Phyllis Lyon and Del Martin at their San Francisco home. Photo: Clem Albers, The Chronicle 1972

Q: How much did you know before you wrote?

A: I think my knowledge was like 25%. I interviewed a ton of different lesbians … younger lesbians, older lesbians, women my age, and, for the second act, trans men, to get a point of view that felt accurate and honest.

Q: What surprised you from the research?

A: The women in this group were teachers, government workers, so they really had everything to lose by coming out. If you got arrested, they put your name in the paper, they put your address in the paper, your place of work — that’s everything. That’s one of the things we’ve been working on in the production — to create that sense of danger in the room, like the danger of getting into the room and the danger of leaving the room. Then you get this break when you’re in the physical space.

You’re taking a big risk. I think that was partly one of the things I learned as well: what a need it is to be yourself and have an honest, authentic representation of who you are. How much courage it would take to make that happen and then invite people into your home! It takes courage to go, but they didn’t know who would show up. They had no idea.

Phyllis Lyons and Del Martin, grand marshals of the Gay Freedom Day Parade on the 20th anniversary of the Stonewall riots. Photo: Tom Levy, The Chronicle 1989

Q: And what did you learn from your interviews?

A: For young women, the relationship to the word “lesbian.” Some women were very much like, “I don’t need it. I don’t like it. It doesn’t make sense for me.” Other young women still really wanted to claim it, saw value to it.

Q: What’s your own feeling about the word, for yourself?

A: I like it. It’s never been unappealing to me. My whole feeling about words in general — and that’s basically what the second act is about — is the idea of “you tell me.” Whatever works for you, I want to include. At a certain point, we needed a word to identify each other and find each other. Now what if we don’t need that word any more? But what if you want it?

I’m excited by the changing of language, and I’m excited to incorporate that in my life. I don’t understand a resistance to it. To me, if “lesbian” goes away, which it seems like maybe someday it will, I will miss it. I will grieve it. But if that’s the natural way we’re moving, if that’s where momentum is taking us … .

In 1955, the first meeting of the Daughters of Bilitis gets off to an uneven start as members Evelyn (Olivia Levine, left), Mal (Katie Rubin), Griff (Molly Shaiken), Shorty (Em Lee Reaves) and Peggy (Erin Anderson) meet for the first time in San Francisco Playhouse’s “The Daughters.” Photo: Jessica Palopoli, San Francisco Playhouse

Q: What do you think of a San Francisco that doesn’t have a bar dedicated to lesbians?

A: I can’t believe it. If there were no gay male bars — Look at my neighborhood! That’s all there is! — it would be front page news. (The Lex) got a little coverage, but not that much.

Q: For the two groups of women from the two different eras in your play, in what ways are their concerns the same, and in what ways have they evolved?

A: Jessica (Holt, the show’s director) has been helping me find the thread, where they connect. The idea in the first act — they’re trying to claim their space. In the second act, they’re losing that space. In just the space of 60 years — that’s not a lot of time to have your space, experience your space and then, “Wait! It’s gone already! It’s gone so fast!”

Also, in the first act, they’re trying to, “If we want to be ourselves, we have to change. We have to be presentable, and we have to not scare the outside world.” In the second act, it’s more, “We are part of the outside world. We don’t need to worry about that anymore, which is why we don’t need this space.”

And then there are the simple connections of wanting to be in love and wanting to find your person and wanting to have fun — and then the other thing is not wanting to talk about politics, but there’s someone saying, “You know what, guys, it is political.” … Even though in the first act and the second act there’s this thing of “Oh my god, can we just have a good time?” it’s like, “Yes, we can, but somebody has to be the person going, ‘Hold up. We have to take this seriously.’”

“The Daughters”: Written by Patricia Cotter. Directed by Jessica Holt. Through Nov. 2. $30-$40. Creativity Theater, 221 Fourth St., S.F. 415-677-9596. www.sfplayhouse.org

Article by Lily Janiak for the San Francisco Chronicle. Link here.

The Coop Brings a Limited Engagement of TERRA FIRMA by Barbara Hammond

SMALL COUNTRY. BIG PROBLEMS.

TERRA FIRMA—A dark comedy, set in a disturbingly not-so-distant future. Years after a conflict known as the Big War, a tiny kingdom jutting out of the sea wrestles with the problems of forming a nation—and opposing notions of what it means to be a citizen, a country, and a civilization. Inspired by actual events. Directed by Shana Cooper.

TERRA FIRMA, by Barbara Hammond, was originally a commission for the Royal Court Theatre, the premiere venue for new writing in the UK. This production is co-presented with Baruch Performing Arts Center. 

Get you tickets now !

THE LAST WIDE OPEN by Audrey Cefaly Opened at the Vermont Stage

Theater Review: A Hollywood Screwball Comedy for Today

Charlotte Munson is Lina and Jordan Gullikson, Roberto, in the Vermont Stage production of “The Last Wide Open.”

BURLINGTON – Two misfits – the waitress Lina and the Italian immigrant busboy Roberto – have been working together seemingly forever in the same Italian restaurant. Although they have seldom spoken, there is an undeniable attraction. They have three opportunities to figure it out, each at a different time in their lives. Will they?

Vermont Stage opened a charming production of the oddball romantic comedy “The Last Wide Open” this week at the Main Street Landing Black Box Theatre. Thursday’s performance enjoyed its fine cast of two reverting to the screwball comedies of 1930s and ‘40s Hollywood – with a decidedly contemporary twist.

This is only the second production of this play with music. With book and lyrics by Audrey Cefaly and music by Matthew M. Nielson, the comedy premiered in January at Cincinnati Playhouse in the Park, where Vermont Stage Company founder Blake Robison has been artistic director since 2012.

The play’s unique structure is alluded to in the play’s complete title. “The Last Wide Open: A Love Song in Three Movements” is told in three segments, separated by folk-style songs: in the first, Roberto has been in the restaurant and the country for five years, and he and Lina, finding themselves alone in the dining room one, talk for the first time; in the second, Roberto has just come to the U.S. and barely speaks English, yet he and Lina find a way to communicate; and, in the final, some 10 years later, finds both married – unhappily – meeting together unexpectedly.

Lina wants to be a nurse and is marrying Todd, though she has very little good to say about him. Roberto isn’t having such good luck with his girlfriend Anna in Italy either. Of course, they figure it out – but oh what fun along the way.

Directed by Jamien Forrest, Vermont Stage’s general manager, Charlotte Munson and Jordan Gullikson are well cast as Lina and Roberto, and seemed to have great fun in this gentle battle of the sexes. Although Munson hid any vulnerability to the very end, she proved a witty and feisty Gina. (She also was quite a fine singer.)

Gullikson presented a more dimensional and sympathetic Roberto, from meek to tender to angry to loving, but always irresistible. Most importantly, their interaction was natural, convincing and very funny.

Vermont Stage has benefited greatly from its move to the Burlington Waterfront, with much fewer limitations than FlynnSpace, its longtime home. Designer Jeff Modereger took advantage of the malleable space to create an attractive and decidedly Italian restaurant interior (and exterior), dramatically lit by Joe Cabrera. Rébecca Lafon devised the novel quick-change costumes, and Dylan Friedman’s sound design underscored the stage activity including some particularly dramatic moments.

Vermont Stage’s “The Last Wide Open” is a happy return to screwball romantic comedies of yesteryear.

Read the full article by Jim Lowe from the Times Argus here.

Clutch Productions Presents Limited Engagement Run Of Tira Palmquist’s THE WORTH OF WATER

Clutch Productions presents a limited engagement run of THE WORTH OF WATER, a new play written by Tira Palmquist and directed by Mêlisa Annis that will be presented Friday, October 4th through Sunday, October 20th, Off-Broadway at HERE, 145 6th Avenue, (on Dominick St., one block south of Spring St.).

This is the second commission of a new, full-length play from blank page to its world premiere on a New York stage by Clutch, the inaugural commission being the world premiere of Every Good Girl Deserves Fun by Heidi Armbruster (upcoming Dairyland at Playmakers Rep, Mrs. Christie at Dorset Theatre Festival). https://www.clutchproductions.org/theworthofwater

Elle is a struggling singer-songwriter in California. Rebecca is an unhappy homemaker in Wisconsin. And Ethel is bringing her daughters together for her 70th birthday to be momentary mermaids in the springs of Weeki Wachee. But as the fantasy dissipates, will they be able to swim back to shore?

“After receiving submissions from dozens of playwrights throughout the country and a rigorous vetting process, Clutch was thrilled to select Tira for our second commission cycle,” says Producing Artistic Director, Christianne Greiert. “Not only is she a skilled collaborator, playwright, and dramaturg, she is also an inspirational bad-ass. We were drawn to her pitch for The Worth of Water, not just because it involved mermaid camp and all the theatrical delight that could provide, but also because of the timely and provocative juxtapositions she was eager to explore with her narrative.”

The cast of THE WORTH OF WATER features Kim Crow (Wit, American Stage; Doublewide and Golda’s Balcony, Florida Studio Theatre); Clare Latham (Currently in the Soho Rep company of Fairview (TFNA) // Two-time Off West End Award Nominee for Best Female Performer (Danny and The Deep Blue Sea; Southwark Playhouse, 2012) and Best Supporting Female Performer (Doubt, A Parable; Southwark Playhouse, 2017); Christianne Greiert (Every Good Girl Deserves Fun, Clutch/Walkerspace; Foreign Bodies, NYTW); dL Sams (Dietland on AMC); Michael Billingsley (The Last Days of Judas Iscariot, dir. Estelle Parsons, La Mama); Miranda Noelle Wilson (Ryan Rafferty is the Most Powerful Woman in Fashion, Joe’s Pub); and Morgan Sullivan (Aunt Jack, Theatre for the New City).

The creative team features scenic design by Jessie Bonaventure, costume design by Johanna Pan, lighting design by Kelley Shih, and sound design by Brian Heveron-Smith. Lisa Stafford is the Production Stage Manager. 

Playwright Tira Pamlquist is known for plays that merge the personal, the political and the poetic. Her most produced play, Two Degrees, premiered at the Denver Center, and was subsequently produced by Tesseract Theater in St. Louis and Prime Productions at the Guthrie (among others). Her newest play The Way North was a Finalist for the O’Neill and an Honourable Mention for the 2019 Kilroys List. While working on THE WORTH OF WATER for Clutch Productions, Tira was also working on a commission for Lower Depth Theater Ensemble in Los Angeles. Safe Harbor, a play about sex trafficking, will premiere in November in LA. Tira has also been commissioned to write new work for the University of California, Irvine graduate acting students. Her play Hold Steady was workshopped at UCI in January 2019, and she is currently working on All We Ever Wanted Was Everything, to be workshopped in January 2020. Her other plays include Ten Mile Lake (Serenbe Playhouse), Age of Bees (NYU Stella Adler Studio, MadLab Theater, Tesseract), And Then They Fell (MadLab, Brimmer Street, New York Film Academy) and This Floating World.

Director Mêlisa Annis has had the pleasure of working with and at Primary Stages, The Ambassadors Theatre Group (London), The Arcola Theater (London), Colorado Springs Fine Arts Center, Shadowland Stages, Tangent Theater, Queens College, Rebellious Subjects, The Playground Experiment, New York University, and Theater Masters FL as a director and dramaturg. As a writer, Mêlisa’s plays have been developed at and with Parity Productions, The Lark and Dorset Theater Festival at the Theresa Rebeck Writers Colony, The New School, Primary Stages, ESPA*Drills (2014), The Lark, The National Arts Club NYC, The Playground Experiment, and RAL. She also had the joy of writing an episode for Amazon Studio’s upcoming series for children (to be announced soon). Mêlisa is currently working on a new musical with Grammy Award Nominee Jamie Floyd (details to be announced soon). Personal essays have been published in several major publications, and she is a frequent contributor to the BBC. Mêlisa also teaches at the NYU Tisch Dramatic Writing program in NYC. 

Performances of THE WORTH OF WATER are on Wednesdays, Thursdays and Fridays at 6:30pm, Saturdays at 1:30pm and 6:30pm, and Sundays at 1:30pm. There is no 1:30pm performance on Saturday, October 12. HERE is located at 145 6th Ave. (Enter on Dominick St., 1 Block South of Spring St.).

Article from Broadway World.