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I f conversations about the state of live theater were plugged into a word cloud generator, right next to “Hamilton” in the biggest font would be phrases like “limited resources” and “aging audiences.” Theater has had a high-profile past year, but not everybody can be a “Hamilton.” For nonprofit theaters
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It’s Jan. 28, 1986, and terminal AIDS patient Elsie has two fears in his final moments: being left out and that the afterlife nuns won’t have any glitter. Toggling back and forth between lighthearted comedy and serious social commentary, this conversation shared between Elsie and Nurse Elaine, the main character,
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Don Reed provides his own entry music. It’s an exuberant, ‘70s style tune that accompanies his slow motion walk into the center of the stage at The Marsh in Downtown Berkeley. The series of “oohs,” “aahs” and claps sound like a jaunty sitcom transition, all of which comes from
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The Marsh’s production of “Colette Uncensored,” directed by David Ford, tells an insightful tale of a young woman’s venture for artistic awareness in the midst of political and social turmoil in the 19th century. Colette (Lorri Holt), a French writer who led a scandalous life while producing famed novels such
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The lights dimmed, the crowd quieted down and the sounds of splashing ocean waves played in the background as Mark Kenward walked barefoot onto the small stage at The Marsh in Berkeley. The dreamy, ideal vacation island of Nantucket came into play. Kenward sat on his stool at center stage
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Five chairs rest unoccupied in a semicircle at the front of a charming, crowded and restless room, upstairs from a cafe. The music stops, and the lights dim. A nonilluminated figure walks in and takes a seat, at the center, towered over by full bleachers of ceasing murmurs. A bright
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Halloween, while fun, does bring out the eerie and the eccentric among us. In the world of avant garde, experimental music, those eccentrics would be the longtime art collective known only as the Residents.
