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“You carry around stories in your body,” Gotanda postulated. “They roll around, tumble around and gather flesh as you live your life.”
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Though “Alligator Mouth, Tadpole Ass” leaves audiences entirely in self-reflection of its content, the production’s poignancy cannot be diminished, even in its multiple interpretations.
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“The Jewelry Box” highlights what love and kindness can accomplish, but the relatability of the characters and their experiences sets this story apart from more magical Christmas tales
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Although nothing is the same this year, carrying on the Christmas spirit through “The Christmas Carol: On Air” helps retain a sense of normalcy for audiences.
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Both directors used the virtual format as a chance to innovate, infusing their own perspectives into the works they directed and transforming the material into something new.
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“Unstable Connection,” exists as a unique yet insightful way of highlighting what UC Berkeley students are feeling right now.
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San Jose Stage Company’s “Night of the Living Dead” seamlessly turned the 1968 classic horror film into a virtual theater production based on the film’s original screenplay, perfect for closing out the spooky season.
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Between the Zoom setting, the split-play format and the timing of the premiere in relation to the election, “The Private Life of the (Not So) Master Race,” directed by Susan E. Evans, was strategically impactful and enjoyable.
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The game show’s shenanigans sought to illuminate the absurdity of the American immigration system as it currently exists.
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More than 500 puppets, paper and acetate, flit across the backlit screen to the ominous rhythms of live music in a live production of Manual Cinema’s “Frankenstein.”
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