Z Space

Great Food With A Great Show

2012-01-17T17:44:00.000-08:00

During the run of Food Stories, Z Space is pairing with local chefs and kitchens to bring some of the Bay Area's most delicious food to join you at the theater.

Japanese gourmet rice balls will be available from ONIGILLY on January 14th, 21st, 25th, 28th, and February 4th.

MAITE CATERING will have food available for sale on January 18th and 19th, as well as February 1st and 2nd.

DON BUGITO will be in the house on the 3rd of February, and on Sunday January 22, three of LA COCINA'S graduates will offer food.

Delicious!

Opening Night is Tonight at 8pm!

2012-01-14T17:34:00.000-08:00

"Food Stories" from Word for Word opens tonight, January 14th, at 8pm! Epicurious recommends you check out the deliciousness.

Photos From The Final "Food Stories" Dress Rehearsal

2012-01-12T14:24:00.001-08:00

Read all about Word for Word's newest work "Food Stories" in THIS great piece from the Chronicle.

You can see more photos, like the one below, from the final dress rehearsal HERE.

Z Space Welcomes New Executive Director Lori Laqua

2012-01-05T13:10:00.000-08:00

SAN FRANCISCO, January 5, 2011—Z Space’s Board of Directors and Executive Artistic Director Lisa Steindler are pleased to announce the appointment of Lori Laqua as Executive Director. Laqua brings over two decades of senior leadership and management, strategic planning, and fundraising to Z Space.

“Z Space is delighted to add Lori Laqua to our team as we move into the future,” said Board Chair Warren Cormier. “Teamed with Lisa Steindler, Lori's vast knowledge and experience in the performing arts is perfectly suited to advancing Z Space toward reaching our goals of becoming one of the preeminent sources of training, incubation, and development.”

Laqua will work shoulder-to-shoulder with Z Space’s Lisa Steindler, who has been serving as the organization’s Executive and Artistic Director since 2007. Steindler, Z Space’s Executive Artistic Director, will now dedicate more of her efforts to producing and overseeing all the artistic programming at Z Space.

“I am so very pleased to welcome Lori to our team at Z Space – Lori will be an integral force as we continue to develop our artistic contributions to the local and national performing arts communities, and to enhance our historic home,” said Executive Artistic Director Lisa Steindler.

Laqua most recently served as the Managing Director of ODC, a contemporary arts institution based in the Mission District of San Francisco, and was a key leader and contributor in ODC’s transformation over the past 21 years. During her tenure at ODC Laqua helped to guide the organization’s growth from a budget of under $1 million to over $5 million. Laqua helped grow ODC’s full-time staff from five to 25 employees, its part-time staff from 13 to 35 employees and its faculty from 11 to over 200. She played an active role in the strategy and building of the overall institution and served as the project manager for ODC’s new Dance Commons building, which opened in October 2005 and ODC Theater, which opened in September 2010.

“I am pleased to be joining Lisa Steindler and Z Space,” said Laqua. “I believe the organization is poised for great opportunity and challenge and I look forward to helping to further shape Z Space’s role in the cultural community of San Francisco and the United States.”

Laqua received a Ph.D (ABD) and a MA in Architectural History from the University of Virginia, an MA in Art History from the University of Missouri-Columbia, and a BA in History and Art History from the University of Wisconsin-Madison.

Taking Stock

2012-01-03T10:48:00.000-08:00

Starting Friday the 6th of January, the Z Space Gallery will show work from Emily Heller & Leah Rosenberg in the show "Taking Stock."

(Work by Leah Rosenberg | Photo courtesy of Leah Rosenberg)

Food Stories Calendar

2012-01-02T12:30:00.001-08:00

More information available at the "Food Stories" blog.

Word for Word presents "Food Stories"

2011-12-19T12:21:00.000-08:00

Klea McKenna in The Bold Italic

2011-12-12T12:05:00.000-08:00

The Bold Italic just published a great interview with Klea McKenna. Her work is featured in the Z Space gallery. Come by and check it out. The Z Space gallery is always free.

You can see a slideshow of the exhibit HERE.

Behind The Scenes: "KMLZ: Holidaze"

2011-12-09T14:26:00.000-08:00

Interested in a behind-the-scenes look at Killing My Lobster and Z Space joining forces to take over the holidays?

Well, HERE YOU GO.

The Bengsons Kickstarter Campaign

2011-11-30T13:12:00.000-08:00

Hover Space

2011-11-29T11:24:00.000-08:00

Check out these twenty seconds of HOVER SPACE from the Printz Dance Project courtesy of Jenni Bregman on Vimeo.

The Dog Show

2011-11-29T10:24:00.000-08:00

Read all about it.

American Tripps Photos

2011-11-11T11:29:00.000-08:00

Thank you everyone that came out last week to American Tripps, a Berlin-style ping pong tournament. You can see photos from the Z Space part of the event HERE.

If you're curious, you can read more about the (semi) weekly event, usually held at The Secret Alley, HERE.

Stop and Go Rides Again (but closes on Friday!)

2011-11-02T12:58:00.000-07:00

Your last chance to check out Stop and Go Rides Again, showing in the Z Space Gallery, is this Friday. After that, it's gone! Gallery hours are 1pm - 5pm. Come check it out.

"Defining the Playwright"

2011-10-27T12:40:00.000-07:00

At a time when interdisciplinary art and devised work are becoming increasingly popular, where does the more traditional playwright fit into the ever-evolving theatrical landscape? Z Space's Executive Artistic Director Lisa Steindler joined a panel of distinguished theater leaders at the Playwright's Center to examine the critical issue of how we define the word "playwright" … and its ramifications that extend far beyond semantics. Check out the archive (including video) of the discussion HERE.

American Tripps at Z Space

2011-10-26T16:29:00.000-07:00

Z Space is excited to host the largest American Tripps yet. What is American Tripps, you ask? Well, The Bold Italic just published a great article explaining it HERE. You can RSVP HERE.

Stop And Go Rides Again

2011-10-05T17:13:00.000-07:00

Paz de la Calzada working on her charcoal wall drawing for Stop and Go Rides Again.

ROMP from LEVYdance and Z Space

2011-10-04T17:28:00.000-07:00

It's over a month away, but the art for ROMP is just so captivating we have to share it now. Click here to read about this co-presentation of LEVYdance and Z Space.

Photo by RAPT Productions / Kitfox Valentin

The People: San Francisco

2011-09-22T11:33:00.000-07:00

Click here to check out some photos from last Friday's performance of "The People: San Francisco."

Youth Arts Represents at the APASF Fair

2011-09-14T15:56:00.000-07:00

The Z Space Youth Arts Program Coordinator Director, Valerie Weak, set up the Youth Arts booth at the Arts Providers Alliance of San Francisco Fair.

Big Art Group: Hybrid Body / Simultaneous Presence Workshop

2011-09-08T15:00:00.000-07:00

A Free Performance from The Bengsons

2011-08-16T15:22:00.003-07:00

Big Art Group

2011-07-28T11:29:00.000-07:00

This September, Big Art Group brings their latest project to San Francisco.

The People: San Francisco is a site specific, outdoor extravaganza that combines live theater with large scale, real time video projection.

Sounds fun, doesn't it?

The Blunder Years

2011-07-26T11:36:00.000-07:00

All you ever wanted.

Word for Word Presents "Julia"

2011-07-05T11:35:00.000-07:00

Make your reservations now for the July 25th performance of "Julia" by Word for Word.

Click here to reserve tickets.

2011-06-28T14:09:00.000-07:00

KMLZ: Ninjas of Comedy

2011-06-24T13:31:00.000-07:00

Samantha Toh, Z Space intern extraordinaire, fills us in on the behind-the-scenes on-goings of KMLZ rehearsals:

Moving chairs, sorting light gels and drilling seven-foot planks into steel beams aside, my time at Z Space so far has pushed me into yet another brand new experience – this time, of comedy. Having worked on depressing shows on and off during my college career, it has been the best of changes observing this week’s Killing My Lobster show. From radio DJs with multiple personality disorders to swashbuckling chess pieces, narcissistic opera singers to men waxing lyrical about their taints, the show does the funny bone tickle like a pro.

To be honest, I was initially a little intimidated being thrown into such a dense concentration of talent. I watched rehearsals turn from cold readings to off-book performances in a matter of days, and loved quietly from my corner the fantastic (also, twisted) minds of writers. As I watched last night’s cue-to-cue, Gina – one of the Bardi Twins, a writing duo – put finishing touches to a giant worm suit created from a bright green kid’s sleeping bag. So much creativity jammed into a small space has made every single evening of one girl’s week.

So, what’s up, Saturday night. Killing My Lobster and Z Space are ready and waiting to open the show, ninja knives in hand.

-- Samantha Toh

The Lobsters are in the building!

2011-06-21T11:03:00.000-07:00

We're not the only ones excited about the upcoming Killing My Lobster and Z Space co-production: KMLZ. Check out what SF Weekly has to say.

Exciting performances coming in June

2011-05-17T13:56:00.000-07:00

Be sure to join us in June as we present a month of outstanding performance!

Izzy Award winning choreographer Sara Shelton Mann and Z Space's own David Szlasa kick off the month with ZEROPOINT, a world premiere multi-media performance event.

Philadelphia's Pig Iron Theatre Company returns to San Francisco for the first time in seven years to present CHEKHOV LIZARDBRAIN, which was hailed by the New York Times as one of the Top 10 Theatre Events in New York in 2008.

FRESH MEAT, America's first and only transgender arts organization of its kind, is having its 10th Anniversary Festival with special performers Vogue Evolution (of America's Best Dance Crew fame), among others.

Critically acclaimed comedy group Killing My Lobster and Z Space will present KMLZ, a special, one-night-only sketch comedy/variety performance created by some of the Bay Area's most ingenious artists.

Tickets for all events are currently on sale, don't miss out!

A Secret History of Love: Part 1

2011-04-27T14:31:00.000-07:00

Come check out the newest work from the Bay Area favorite Sean Dorsey Dance. The world premiere of A Secret History of Love: Part 1 plays this Friday, Saturday, and Sunday at 8pm.

Leveraging Social Media: Becoming a Networked Arts Nonprofit

2011-04-15T15:18:00.000-07:00

This Monday, April 18th, Z Space welcomes a conference from Theatre Bay Area. The conference, "Leveraging Social Media: Becoming a Networked Arts Nonprofit", is a comprehensive training, peer learning, and coaching program designed to help Bay Area nonprofit arts organizations create an effective social media strategy and put it into practice to get results.

Othello 11: Second performance date added!

2011-04-13T13:26:00.000-07:00

Z Space and the Cultural Services of the French Consulate have added a second performance of the one-weekend-only deconstruction of Shakespeare's classic Othello! Don't miss this amazing show which features French and American theater all-stars L. Peter Callender*, Astrid Bas,
Manoel Feliciano*, Emilie Gruat, Camille Bertrand, Peter Kybart*, David Mendelsohn*, and Ryan O’Donnell.

April 22 & 23 at 8pm. CLICK HERE for more details about the show and to reserve your seats.

*member, Actor's Equity Association.

Victor Cartagena in the Z Space Gallery

2011-04-11T15:27:00.000-07:00

Join us this Friday, from 6:00 to 8:00pm, for the opening of Burro-Cracia & Anatomy of La Mentira: an exhibition from artist Victor Cartagena.

Start your Friday off right-- have a drink at the Z Space bar, and catch some great art.

Youth Arts performances at Tam High

2011-03-31T12:46:00.000-07:00

Youth Arts (Z Space and Word for Word's educational theater program) and The Conservatory Theatre Ensemble (CTE) at Tamalpais High School present Fitting Out: Two Twisted, Contemporary Tales. Go support these amazingly talented high school students through Saturday!

Shows are at 7pm at the Caldwell Theatre at Tam High in Mill Valley. Tickets are $5 for students/seniors and $12 for adults.

Fitting Out is a pair of short contemporary works of fiction adapted for the stage in the Word for Word style and performed by high schoolers participating in Youth Arts. The vibrant worlds of The Healer by Aimee Bender and Schotzie by Jim Kniepful invite the audience to explore differences and question convention, while blurring the line between real and surreal. Fitting out is intended for high school age audiences or older.

Vote for Z Space as Best Theatre Group in the Bay Area

2011-02-25T15:15:00.001-08:00

Z Space has been nominated for SF BayList's Best Theatre Group in the Bay Area! Click HERE to vote for us!

Flash Forward 2011

2011-02-23T11:57:00.000-08:00

This Thursday, the 24th of February, join us for a night of informal presentations and analog social networking with some of the Bay Area’s best.

An amazing group of artists will show excerpts, sketches, and concepts about their upcoming works destined to premier at Z Space in the upcoming year.

Participants are likely to include
and are equally likely not to include
But will include some of the following:

Laura Arrington
Paul Dresher
Sean Dorsey
Christy Funsch
Jesse Hewitt
Marc Bamuthi Joseph
Sarah Klein
Ben Levy
Sara Shelton Mann
Hope Mohr
Mel Prest
Stacey Printz
Sins Invalid
David Szlasa
Amy Tobin
Paris Wages
Nina Weis
Kat Worthington
Yuri Zhukov
and more... (subject to change)

Where: Z Space, 450 Florida Street
When: Thursday, February 24th. Doors at 6:30pm, show at 7pm
How much: $5 suggested donation, and bring money to spend at the bar

France's Next Top Designer

2011-02-18T08:37:00.000-08:00

I originally blogged this on another site the day after arriving in France with the intention of a few installments, but it just happened that this was the most exciting and fruitful day. Check back in March when things really get rolling for Word for Word's tour of The Islanders by Andrew Sean Grier:

Well, here I am back on the other side of the world working that whole theater thang! That’s right your trusty Theater Manager and resident Lighting Designer has once again flown to France, this year the first of 2 trips, to conduct workshops with design students who will hopefully build part of our set, saving us the cost of shipping it to France. Though I’m only here for 10 days and only 2 days in so far, it has been amazing.

So let’s start with the plane ride, I don’t know if anyone really cares about this part of my trip but I like writing about it so you can skip a few paragraphs or you can indulge me, whatever.

Woke up at 9a on Sunday, the plan was to hit the gym to get some exercise, but as I realized that I had yet to pack I thought hitting the Wii Fit might be a better choice. Though I hadn’t hit my weight loss goal the regular gym visits were definitely helping my strength and balance and I managed high scores in all my Yoga poses (don’t ask me how you score Yoga poses). Then it was off to the airport and a nice little 12 hour flight to Paris. Fortunately, the flight wasn’t very crowded and I was able to stretch out in my row. I didn’t get much sleep, I think I’m still too excited by plane rides, but I did rest a bit. And of course I watched a few flicks on the way.

Dinner for Schmucks: should be called Movie that Sucks, come on Paul Rudd and Steve Carell, you are two of my favorites and this was just bush-league you can do better (plus I discovered Paul Rudd’s gem performance in Veronica Mars but more on that later). Un-Stoppable, for those of you who don’t remember this film it’s not a surprise it is about Denzel Washington driving a train to catch another train and yep its about as entertaining as that sounds, should have been called Un-Eventful. I suppose on a larger screen the fast trains whizzing by would be really exciting but when you reduce the action to 5 inches you need a story to back that up, Ridley Scott should know better. The constant reminders that the film took place near Pittsburgh didn’t help as I knew I was missing the SuperBowl which I was happy to learn went to the Cheeseheads in Green Bay. I didn’t know the score until a fellow American in the Paris train station saw the Ravens sweatshirt I was wearing and as a true football fan recognized that it was indeed a protest for the hated Steelers getting a trip to Dallas told me of the glorious result, congrats Aaron Rodgers, the Favre era is officially behind you.

I finally submitted to watching The Other Guys, the movie where Will Farrell and Mark Wahlberg play reject cops who eventually save the day. It turned out to be much more amusing than I expected. After landing at 11a Paris time (that’s 2a SF time) I met up with Sue, Word for Word’s AD who got me situated with my plane ticket and pointed towards the right platform. Then it was a quick 3 hour train ride to Nantes which managed to round out something like 36 hours of travel (that could very well be an exaggeration but it certainly felt that long and my brain can’t do all that time conversion in one sitting).

The next day had me at a 6a wakeup to head to the Design School in Nantes which is where the true excitement really happened. Students there, who are mainly based around spacial/interior design, have been working on designing their own vision of the play we are bringing to France. This is a very interesting task for interior designers as approaching a set design poses many different considerations. It very much reminded me of my pre-CounterPULSE days when I met, now CP Board Member, Ed Grant for the first time when he helped build a few walls for a set. He built them like he was building a friggin house and it took forever to knock them down, I had to explain that the objective in theater was the illusion of solidness not necessarily withstanding an earthquake.

The parameters that the students were given were that the set had to be taken on the train with us everywhere we travel and of course it had to fit with the play in some way. I then got to meet with each student individually to discuss their models that the constructed out of their ideas. First of all can I say how jealous I was that these student are just given an 8 hour day and an empty room in which they get to play with all their materials and try out different ideas, it’s like a designers dream and makes me yearn for grad school. The students had such fascinating design approaches but more importantly I was amazingly impressed with their deep thought and comprehension of the story. Nearly every student was able to relate the connection between their design and some important aspect to the story, whether it be the strong but chaotic relationship between the two lead women, or the impending fear inherent in the ending, they all commented so exquisitely on these aspects and the result was better designs. I also found out later on from their English teacher that she had shown them Lars Von Trier’s Dogville as an example of minimalism, which is essentially how we describe our touring set. I felt bad that they had to sit through that film as I struggled with it myself, don’t get me wrong I love Von Trier’s work but that film is ridiculously self indulgent, I love it as an experiment, but three hours with nothing to look at is for a designer somewhat of nightmare I believe. I definitely saw this influence reflected in a lot of their work but I did need to explain that the film was an extreme version of minimalism and that minimalism does not necessarily mean not realistic for in fact our sets tend to be very much based in realism, but when we say minimal we simply mean we can’t carry everything and the kitchen sink.

I was also quite bit surprised to find a lot of students wanting to work with video projection. This too I had to explain is a major challenge for our tour as the size and capabilities of the theaters in which we perform vary so greatly and video really demands a great deal of time and finesse to make it effective, those are too commodities we rarely have on tour. Though I am a video designer as well and I love the moving image I am constantly encouraging artists to really identify the importance of such a choice. Even though technology has reached a place where we can afford to play with these new toys I don’t think we have quite perfected their integration into design work and I would caution anyone considering it. All in all though the designs were quite brilliant and luck me I got to have essentially 25 production meetings in one day. It was certainly a lot for my brain to handle but I greatly enjoyed playing teacher for a day and it has certainly made me consider that option more realistically. I also got the rare treat of sitting down with three of the teachers for a much needed beer at the end of the day and it was also great to get their insights into where the students were in their progress, they have such high standards but it is obvious that they feel the students are simply, to quote a great theater director I had in high school, “too good not to be better.”

After that is was home to Chris Evain’s with whom I am staying while in Nantes. She has been a long time Word for Word fan and advocate and helps us with a lot of the advanced planning. She has three teenage daughters at home, 14, 15, and 17, so you can imagine how I ended up watching a Veronica Mars marathon. But once again it presented such a unique cultural experience as all of us enjoyed the show but found ourselves laughing at very different moments. I of course was very amused by the musical references and jokes about American culture, one of my particular favorites was a jab at Rob Thomas of Matchbox 20 fame who also shares the name with the shows writer/producer. I do have to say however, that I was greatly frustrated by the lighting design and if you want an example of some very aggravating color and directional choices this would be a great sample of what not to do. Other than that it was very cute and just what I needed to let the brain unwind after an intense and jet-lagged day. I suppose my desire to write is permeating this too much so I’ll round it out now but check back for more updates in a few days.

andrew

Celebrate Valentine's Weekend at Z Space!

2011-02-09T13:36:00.000-08:00

Bring your companion to see The Companion Piece for Valentine's! Use code "valentine" when ordering tickets and receive 2 tickets, 2 beers, and a popcorn for just $20! The Companion Piece must close Sunday--don't miss out on this great offer and your last chance to see the show critics are calling "disarmingly delightful" (theaterdogs.net). CLICK HERE to order your tickets.

Bicycle Coffee Company comes to Z Space

2011-01-27T12:38:00.000-08:00

The Z Space Bar is delighted to offer coffee from the folks over at Bicycle Coffee Co. Delivered to us via bicycle, these fresh, locally roasted beans make one of the best cups of coffee the Z Space team has ever had.

Sip it black, with cream, or throw in a shot of bourbon. Delicious.

Pastures of Heaven in DC!

2011-01-20T13:30:00.000-08:00

Word for Word and CalShake's staging of John Steinbeck's The Pastures of Heaven will be performed at American Voices New Play Institute at Arena Stage's New Play Festival in Washington DC, January 19-30! CLICK HERE for more information.

'Good Foods Catering' is back!

2011-01-19T12:33:00.000-08:00

Last fall we welcomed Good Foods Catering to the Z Space. They served up a delicious mix of pulled pork and smoked tofu sandwiches to our hungry audiences. And now they're back for round two.

With a new menu (pulled chicken sliders, pulled pork sliders, smoked tofu sliders), the Good Foods Catering team will be joining us every Thursday and Sunday during the run of The Companion Piece.

Check out their culinary delights pre-show starting this Thursday, the 20th of January.

Watch the first The Companion Piece Webisode!

2011-01-14T15:45:00.000-08:00

Check out this webisode by clicking HERE to learn more about The Companion Piece and devising a play. Featuring director Mark Jackson, conceiver and actor Beth Wilmurt, and actor Christopher Kuckenbaker with behind-the-scenes rehearsal footage.

Popcorn.

2011-01-12T10:33:00.000-08:00

That's right. Z Space just got a popcorn machine. Come taste that freshly popped goodness pre-show starting the 18th.

Olive Kitteridge one of 2010's Ten Best!

2010-12-28T15:02:00.000-08:00

Word for Word's production of Olive Kitteridge made the San Francisco Chronicle's Top Ten Best of Bay Area Theater in 2010 list! You can read the article HERE. Congratulations to the Olive team on producing an amazing piece of theater!

Z Space Gallery Welcomes Carol Aust

2010-12-14T15:47:00.000-08:00

Just in time for the Z Space Holiday Gala, artist Carol Aust will be showing work in the Z Space Gallery.

Come celebrate with us on the 16th of December, and check out work from this Bay Area artist.

Z Space Welcomes Work by Ann Belden and Rodney Ewing

2010-11-30T12:28:00.000-08:00

In conjunction with the December 3rd and 4th performances by Liss Fain Dance, visual artists Ann Belden and Rodney Ewing will be showing work in the gallery.

Check out all of their work this weekend at Z Space.

125 Artists!!

2010-11-18T11:16:00.000-08:00

Dance For Another Day has arrived in the space today to rehearse for an awesome show this weekend to benefit Lupus research. Check out 125 artists performing on stage - one night only this Saturday!!

Don't miss this weekend!

2010-11-09T12:50:00.000-08:00

Check it out - Burning Libraries got a great review in the SF Chron - Click HERE

Burning Libraries begins previews tonight!

2010-11-04T15:26:00.000-07:00

ALICE is putting the final touches on Burning Libraries: Stories from the New Ellis Island and will begin performing in front of audiences tonight! Check out some of what the press has been saying:

SF Chronicle

SF Examiner

SFArts Monthly

Bay Guardian

SF Weekly

Voting at Z Space

2010-11-02T09:45:00.000-07:00

Z Space is pleased to serve as a polling location today.
If you live in the precinct, come vote!

SFArts Monthly Covers Burning Libraries

2010-11-01T11:58:00.000-07:00

This month's edition of San Francisco Arts Monthly has a great piece about ALICE's Burning Libraries: Stories from the New Ellis Island, performing here at Z Space November 4-14. Read the piece on their website (titled "Jewels from the Mouths of Babes," located in the left sidebar) and be sure to buy your tickets today.

From the Archives: KQED profiles Mark Jackson

2010-10-29T13:46:00.000-07:00

Mark Jackson, a familiar face here at Z Space and director of the upcoming The Companion Piece, was featured on KTVU's Spark in 2007. Watch the segment and read more about Jackson and his work at KQED's website. Be sure to check out The Companion Piece's campaign on Kickstarter to view another video featuring Mark Jackson and to support his work!

Z Space Holiday Party

2010-10-28T10:41:00.000-07:00

Tickets to the December 16th Z Space Holiday Party are now on sale!

With live music from the Marcus Shelby Trio, a performance by Word for Word, and a sneak peak at The Companion Piece, the evening is sure to be a blast.

We hope to see you there!

The Z Space Gallery

2010-10-27T14:04:00.001-07:00

Z Space said "goodbye" today to the artwork of Melissa Hutton, a Bay Area artist whose mixed media work we've had the pleasure of showing these past two months.

Opening the 9th of December, next up in the Z Space Gallery is sculpture by Oliver DiCicco. Check out a video of his kinetic sculpture "Sirens."

Companion Piece Wrap-Up

2010-07-06T07:37:00.000-07:00

Well, I didn't quite get around to blogging every day and all I can say, dear readers, is that I got fully absorbed in what was one of the coolest (if not THE coolest) workshops I've ever gotten to assist on.

Why cool was it, you ask? Well, let me share with you The 3 Coolest Things About the Companion Piece Workshop.

1) Not Having a Script: How do you rehearse a play without having a script? Well, there's more than one way to skin a cat (or workshop a play, as the case may be.)

What I learned is that often, a particular idea will dictate for itself the way it needs to be explored. For example, we found answers to how to use a particular set piece by simply playing with it and figuring out all of the possibilities off what it could do. Questions about character choices were brainstormed at a table, amid a smattering of YouTube videos that represented possible character essences. Answers to questions about structure and how to link themes together came from making detailed lists on brown butcher paper. These lists were arranged and rearranged until the structure became clear. One of the most beautiful moments that was found was a "Ladder Ballet," a pas de deux between two large, metal ladders. How do you choreograph giant ladders? Examine choreography with two actors doing it, then work with tiny paper models of the ladders! How to create a realistic fight scene? Improvise it!

If the kernel of the artistic idea is strong enough (and Companion Piece has a strong core indeed) and the theatre-makers are really listening, then the piece itself seems to tell you how to work on it. In a "traditional" process, the script can often become a crutch and questions send you further into the text to find answers. But in a devising process, it is the people in the room, the rehearsal space, and the world itself that contains the potential answers so it makes you engage and connect in a completely different way.

2) Having an Incredible Team of People: We had a scenic/costume designer who could mock up a magic trick on the fly, a sound designer who could mix a dreamscape simultaneously creepy and poetic, a lighting designer who illuminated both the stage and the storyline, a props master who searched the city for the plunger that made the most comical sound effect, a stage manger who brought cupcakes and effortlessly kept order, actors as intellectually agile as they are physically brave, a director who is both an auteur and a democrat, production assistants that documented and will archive 70+ hours of rehearsal footage, a production manager who gleefully experimented with the funniest way to chuck a rubber chicken across the stage, and a producer with an incredible respect for artists (and who is also an artist herself.) What a great and wonderful gift it was to be with such skilled, motivated, and friendly creators.

3) Having the Time & Space for a Workshop: In one of the many ways that the economy has affected the theatre world, rehearsal processes are often truncated. In these shorter rehearsal periods, it seems that ideas never die of natural causes; they are prematurely killed off by time constraints! Thus, safe and small choices are made because there is not the time to flesh out the risky, bold, imaginative choice. The time and space to explore and experiment is crucial and it gave us all a very strong start on Companion Piece.

You'll get to hear more about Companion Piece from the actual rehearsal process, beginning in December. Until then, thank you curious theatre-goers and practitioners for following us down this fantastic workshop trail! See you soon!

Companion Piece Workshop - Day 3

2010-06-25T10:01:00.000-07:00

Ladies and gentleman, boys and girls, children of all ages! Step up, step up! Come one, come all! Sit back with a chilled glass of sarsaparilla and some Cracker Jacks and enjoy reading about Workshop Day 3 in the Companion Piece Blog Series!

[Hi guys. Shelley here. Did you like my introduction? I decided to go for some circus flair to introduce this rehearsal since we worked with a trapeze swing! I thought you'd like it.]

Wednesday was a short rehearsal that was primarily about playing with some really raw, rad technical elements. Whereas the rehearsal before it had been about discovering what was in the space, this rehearsal was about learning how to use what we'd found.

When I walked into the space, it felt completely transformed, but I couldn't figure out why. Finally, it dawned on me that it was the lighting! Whereas in the previous rehearsals, the space had been lit by natural sunlight streaming through the large, old windows on the side of a building, we were now using stage lighting for the first time! Lighting designer Gabe Maxson is working with a footlight effect to mimic the lighting used in vaudeville shows. It's a very cool effect, the way such lighting plays on the faces of the actors and the shadows that it creates. It was thrilling to get a glimpse at what the overall look of the show might be and a reminder of how rare and wonderful it is to have designers at such an early phase in putting together a show.

We're considering using projections in the show and we discovered that almost anything could be a surface on which to project a video image — a white door, an evening dress, the inside of an oversized umbrella — there were endless possibilities. The video footage we're using consists of clips from vintage vaudeville shows from the turn of the century. We played with how the actors interacted with the moving pictures in their space and discovered some hilarious juxtapositions between the real actors and the video actors that you'll have to see to believe!

We also did some circus-esque experiments by rigging a trapeze swing onto a giant metal beam that hinges out from the side of the stage space. Mark and Beth were the first brave souls to test it out! I considered posting pictures for you blog readers, but decided that such a gorgeous image will be best-saved for the show itself. Dangerous displays of awesomeness! Unrivaled, unbridled imaginations! Towering talent, mysterious magic! Go ahead and mark your calendars, folks. You're not gonna wanna miss this one.

COMPANION PIECE WORKSHOP - DAY 1 & 2

2010-06-23T07:33:00.000-07:00

Hey there, folks! Shelley Carter here, workshop assistant for Companion Piece, an exciting new devised piece of theatre from creative masterminds Mark Jackson, Beth Wilmurt, Jake Rodriguez, and Chris Kuckenbaker. This is the first of a series of daily blogs to take you through the journey of our rehearsal process.

The first day of the process on Monday was spent doing "table work," which is a chance for the director, performers and workshop participants to sit around a table swapping research and ideas. To familiarize the group with vaudeville, director Mark Jackson had everyone gather onstage to watch a collection of DVDs of vaudeville performances and the work of other interesting theatre ensembles. While we were doing this, we were also being videotaped for documentation purposes! This means that eventually, there will be a DVD that you can watch on your television of people on stage watching television of people onstage. Why do we do this, you ask?!

I suppose that in such an ephemeral art form, the ability to connect with our predecessors and to draw inspiration from the work that's been captured is incredibly valuable. Watching these videos gives everyone participating in Companion Piece a collection of references points to draw on in rehearsals, a context for the kind of work we're doing, and a common language with our theatrical ancestors and with each other. Though this piece been worked on for several years, for many of the participants (including myself) Monday was our first day. Taking the time to explore the research together ensured that everyone was embarking on this journey together.

Day 2 was about exploring the seemingly "empty" space of Theatre Artaud. I say "empty" because what initially seemed like an empty space, upon further investigation, became a veritable playground of opportunities. Instead of immediately bending the space to suit our needs, we tried to read what the space and the raw materials had to tell us. It felt a little like taking an eye exam, you know, "What do you see? How about now? A or B? And now?" Our conversations went something like this:

"Ladders parallel or straight on? Now spin the ladders? How about now? Now, turn in a circle while he's spinning you on the ladder. OK, now? Spin the umbrella? Now upstage? Now through the door? And put on the sparkly tights. With the white dress? With the striped dress? How about now? And add a hat on a stick? What do you see now?"

And not unlike an eye exam, there are moments, glimpses, of absolute clarity, where the fuzzy image suddenly clicks into focus. Everyone participating in the collective eye exam agrees that they've just seen a piece of the play dart out of the forest of the imagination and run across the stage. "Did you just see that?" It's an exciting moment because it's a shared moment. It's a shared moment of creation, which, it seems, is one of the very ideas that this particular play is all about.

If Merle Haggard and Keith Richards had a tranny lovechild

2010-06-15T11:31:00.000-07:00

This week's guest blogger is Sean Dorsey, Artistic Director of the Fresh Meat Festival. What's the Fresh Meat festival, you ask? Dorsey explains:

There are a million demands on our time during Pride Month, so I will cut to the chase here: if you haven’t yet experienced the Fresh Meat Festival – you MUST check it out this year (but get your tickets in advance if you can, because these shows sell out in a hot tranny minute!).

The Fresh Meat Festival is an annual festival of transgender and queer performance. Fresh Meat attracts enormous, sold-out crowds and national attention for good reason: it features stellar talent and is the only event of its kind in North America. And this year, the outrageously popular festival is bursting at the seams with world premieres.

The 2010 Festival boasts Fresh Meat’s biggest lineup ever. From modern dance to hip hop, freestyle to folk, ceremonial music to roots rock, this year’s festival offers a top-notch roster of transgender and queer trailblazers. Sri Lankan, Middle Eastern, Appalachian and Mexican-American voices come together in the acclaimed Festival that is still the only event of its kind in the nation.

Some of the world premieres this year include:

- Anthony Robbins, move over! Always-outrageous performance maverick Annie Danger dons a headset and becomes the ultimate life coach. PowerPoint will never be the same again. (world premiere) 
- The Barbary Coast Cloggers (the world’s only all-gay Appalachian clogging troupe) dance the story of Jeanne Bonnet, who lived as a man and rescued women from Barbary Coast brothels in the 1800s. (world premiere) 
- Sean Dorsey Dance mines Craigslist ‘Missed Connections’ personal ads for a dance theater exposé on queer and tranny online love. (world premiere) 
- SoliRose calls on ancestors from Lebanon, Turkey and West Africa to create a gorgeous mix of storytelling, live oud (Middle-Eastern lute) and song. (world premiere)
- The GAPA Men’s Chorus (Gay Asian Pacific Alliance) woos us with odes to queer love – including Vietnamese folk songs, Tagalog pop hits and doo-wop with a twist.
- After bringing down the house last year, hip hop champs Allan Frias Productions (of So You Think You Can Dance fame) returns and fuses their signature juicy hip hop with old-school vogue performance. (world premiere)
- If Merle Haggard and Keith Richards had a tranny lovechild, it would be sultry rocker Shawna Virago, whose new songs explore the adolescent roots we would all rather forget. (world premiere)

Fresh Meat Productions is the nation’s only arts organization with year-round transgender arts programs, which include the Fresh Meat Festival, Artistic Director Sean Dorsey’s award-winning dance company (Sean Dorsey Dance) and film and video events. Fresh Meat Productions was founded in 2002 to foster the artistic development of transgender artists, build community and audiences for transgender and queer artistic expression, and to promote dialogue and understanding through the arts.
The Fresh Meat Festival runs June 17 through June 20 at Z Space. Buy tickets now!

Summer of '99

2010-05-25T09:17:00.000-07:00

Hello there Z Space Blog Readers!

Peter Nachtrieb here.

Do you remember what you were doing the summer of 1999? It was a time of optimism and innocence, of dot com dreams and when Florida was just a place to vacation as opposed to an electoral disaster. It was also the summer that my brother George and I embarked on the insane task of shooting the feature length wacky film, Welcome Space Brothers, written and directed by George, shot in West Marin and San Francisco and featuring a stellar cast and crew of Bay Area talent (well they were all living here at the time). After an eleven year journey of filming, editing, finding a composer, running out of money, dealing with other life issues, moving, and assembling the final crucial elements and contributors, we are thrilled to be sharing the COMPLETED film in its World Premiere Screening at Z Space on June 12 at 8PM. And you should totally come.

So, yeah yeah, it took a while and it's pretty wild to consider how much the world has changed politically, technologically and personally. A couple different presidents, some horrendous events and wars and crashes and popping bubbles. Yet, despite the gap between its writing, filming and it's screening, the movie still feels relevant to our modern state of affairs. We have a deputy/nurse totally preoccupied with the spread of disease (you know, like swine flu). We have a rancher couple suspicious of aliens talking to their cow (you know, like Arizona). We have a cult eagerly waiting for the arrival of their Messiah (you know, like the Tea Party). And I won't even get started on the Tobacco researchers. It's interesting to see a particular type of American-ness reflected in the movie that feels timeless. And it's still funny (especially if you like your comedy a little weird).

On the technology side, we shot the movie on one of the first 3 chip (old school) digital video camera. We edited on the first (and many subsequent) version of Final Cut Pro (which is actually now providing a challenge with our weird animation sequences. Damn you, fonts!). The acceptance of video in the movie world has radically spread since we shot. Not to mention the entire universe of film distribution has changed. The indie film world of the 90's has essentially disappeared, but filmmakers can now share their work directly through the Internet. (And that's something we're planning to do as well. )

On the personal side, it's bizarre to think how much has changed in our own lives over a decade, as well as in the lives of those who worked on the film. George was living in LA at the time we shot. Since then, he's moved to SF, worked at a startup, and is now working as a freelance video producer and internet community manager. I was mostly an actor and sketch comedian, and since then I have become a full time playwright (Now working on my 6th and 7th full length plays). Actors and crew have moved, or moved and returned, married, had babies, or have continuously toured the nation performing in a solo show as a nun (that's you Kim Richards!) A number of long lasting, deep friendships grew from that summer in 1999.

Needless to say, it's about time we got this thing out there. We are so happy and thrilled to be at this moment. And we couldn't be happier to do it at Z Space and hopefully raise a little money for them in the process. This is the beginning of our sharing of the film and we hope we can give audiences as much a taste of the fun we had making it. So, yeah, you should totally come.

Join us on June 12 for Welcome Space Brothers! Click here for tickets.

Click here to purchase tickets!

Devised Companions

2010-05-13T10:13:00.000-07:00

Mark Jackson here, still feeling fresh from a weekend workshop with the folks from Creative Capital, hosted by Z Space. Twenty-four Bay Area artists from a variety of disciplines participated in an informative, inspiring, at times eye-opening series of lectures and discussions geared toward making better, more efficient, more effective business people of us all. As individual artists we are indeed our own business, and yet the chaos natural to making art often tangles up our ability to devise the best business practices for ourselves. The Creative Capital team came with loads of experience and ideas for articulating intentions, organizing time, making efficient and effective financial decisions, and staying true to ones art in the process.

Somehow this experience fits neatly into what has become a kind of theme in my career lately: devising.

This term, “devising,” is the trendy label for something that’s quite ancient, really. With regard to theater it means, in the most basic sense, not starting with a script. Generally speaking, with a “devised” piece a group will get in a room for a period of time and improvise in a variety of ways around a given theme, subject, or other source material. Eventually they’ll have made a show.

Summed up that way, it sounds easy. It’s actually the most physically, emotionally and intellectually demanding way to go about making theater that I am aware of. With no script laid out in advance to provide a basic map that everyone can point to in order to identify points A to Z, the collaborators have to draw this map on their feet, together. How exactly this is done can take many, many forms. For myself, the Viewpoints and Composition work as taught by SITI Company is a major tool. I also look to the examples of Théâtre du Soleil, Robert Lepage

and Forced Entertainment. Sometimes methods present themselves spontaneously, arising out of the needs of the moment. But whatever the formal approach, the key ingredients for success are openness, honesty, trust, daring, will, patience and compassion. One must cast aside pride

and ego at the threshold and leap into the dark hand-in-hand with everyone else.

Over this 2009/10 season I’ve been involved in three devised projects. The only one that Bay Area audiences might have seen would be JULIET, a piece I directed at San Francisco State University. JULIET used the second of the two title characters of Shakespeare’s Romeo & Juliet as its starting point. From there the designers, cast and I started to make stuff up and eventually we had our show. It went off very well and even nabbed a mention in the New York Times.

This summer I’ll disappear into the creative cavern of Theater Artaud for two weeks with Beth Wilmurt, Jud Williford and Jakes Rodriguez in order to start working on The Companion Piece, a devised work commissioned by Z Space that is slated to open in late January, 2011.

Our starting points are American Vaudeville and the question as to what extent ones individual survival and identity depend on other people.

We workshopped The Companion Piece with students of the American Conservatory Theater MFA Program back in January 2009, and this helped give shape to the basic questions and structure of the piece. Lisa Steindler attended the final showing of that leg of the work and

decided to take it on at Z Space. So, this summer we’ll begin the sweaty process of filling out those basics we found in the previous workshop. And eventually we’ll have a show.

Again, sounds easy. But it’s always a scary moment, standing at the front edge of a process like this. So many questions hover and loom. So many possibilities dangle in the air. It feels like crisp cold wind in bright, hot sunlight. Such a contradiction gets the blood pumping, to

say the least. But it’s good to feel alive!

Wish us luck!

On and up.

Mark J

'tii next year, Tour de France!

2010-05-06T12:00:00.000-07:00

Word for Word Artistic Director Sue Harloe writes to us from overseas, where the acclaimed Tour de France tour of "Two On A Party" has just wrapped.

We saw the trees in the Luxembourg Gardens turn from skeletally brown to lacy green to a verdant canopy during Word for Word's latest Tour de France. Tennessee Williams is all the rage here this Spring (I've seen 4 productions, each a different play, two in French and two in English--ranging from Isabelle Huppert in a tour de force of a deconstructed "Tramway" to a fantastic production of "Spring Storm" Group's), so we were, in essence, part of a European Williams festival. Our "Two on A Party" was tremendously received; people loved the story, the actors, the staging, the set. Full houses everywere. All the elements combined to make a terrific evening of theater.

Our venues were wildly disparate--from a tiny postage stamp of a stage, to a large auditorium with a painting of Pope John Paul II overlooking our valiant company, to Paris' Salle Adyar (housed in the 1912 theater building shared by the Theosophist Society)--and each provided a home, a stage for our actors to bring "Two On A Party" once again to life. The post-show question and answer sessions were intelligent and mostly thoughtful--people wanted to know about Theater Rhino (and Rhino's Artistic Director, John Fisher, was able to join us onstage for these talks in Paris), always about Word for Word and how we select our stories, who makes up the company, etc. etc. Our wonderful technician in Paris, Lillia, pointed out how unusual it is for audiences in France to have such intimate contact with the actors. This contact creates a further bond and expression of our mission: French-American amity. (This is also the mission of the Florence Gould Foundation, which provides our funding and without whom we could never make this tour). We performed for everyone: anglophones, francophones, and a suprising number of high school students (some entirely French speaking) who had studied the story and were completely enthralled by the production. (I did give brief vocabulary lessons to some of our hosts regarding Williams' more colloquial terms, like queen, fairy, lush, old bag, and the inimitable "glory hole".)

We were well cared for in every city we visited (Angers, Nantes, Nancy, Paris), with great city tours, long meals, wonderful wine, and endlessly thoughtful, gracious, and fascinated hosts. We are so lucky to be able to share this experience with them: really, it is our hosts and our loyal audiences who make the tour shine as it does.

Then came the Ash Cloud! The night of our final performance in Paris, April 15, was the night of the Eyjafjallajokull eruption. Suddenly Europe is in a panic, planes can't get in or out, the words "ash cloud" are everywhere. Fortunately, the Icelandic gods were smiling on us, because our company members had each made plans to leave several days after the show, and so had booked later flights, all of which left more or less as scheduled. And so we had a place to stay (the lovely large apartment that we rent each on rue de Vaugirard), food, water, wine, and some of the most gorgeous weather Paris has had. We did experience long and arduous lines at the airport, and Jeri Lynn's flight even took off, flew, turned around, and came back to Paris. But all arrived home, safe and sound, and we are all very grateful for that.

Boundless thanks to all who make this tour possible, both here and abroad. It brings so much to so many people.

dance, poetry, and our fragile planet

2010-05-04T10:31:00.000-07:00

Today’s post comes to us from Jayne Wenger, co-director/dramaturg for Deborah Slater’s production of Men Think They Are Better Than Grass, and last seen at Z Space directing Anne Galjour’s You Can’t Get There From Here. We’re glad to have her back!

First day In the theater! After years of planning and thinking (and dreaming) this is exhilarating.

Really.

We have a crack design and technical team when we walked into the theater it was already amazing! Mikiko's set is starting to emerge and fill the huge space that is Theater Artaud. I love working here, this space is venerable and the vibe is great. Welcoming and professional, and fun too. I wonder who won that ping pong game that was happening in the lobby?

The space itself can feel so vast and empty, but suddenly, as we are doing a work through with all of the elements, music, environmental sound, video and most importantly, the dancers - the space is filled with their movement and it is no longer empty feeling. It is warm, and rocking and alive. Our 'script' - consisting of 17 poems written by deep ecologist W.S. Merwin is filling the space with words, and Mattias Bossi and Carla Khilsted's musical compositions are beautiful and evocative. For Deborah and myself - it is the culmination of a long journey.

This week is National Dance Week, so we had company in the theater on our first rehearsal! I grumbled a little (yep, just a little) when I realized that we would have guests, but - It turned out to be great to have on-lookers and when Deborah and I took a break and did a brief Q and A with them, it was rewarding to hear their sincere response to the work. They seemed to get what we were up to, and it was clear that they really enjoyed being with us in the very early stages of tech rehearsal.

We heard from several people that they loved the movement and choreography and that they were moved by the poetry. That was heartening for us, and i'm glad that they came and shared those hours with us. Their presence was a bonus!

After more than two years of working with ideas, it is rewarding to get some feedback - and not from friends! One man told me that he was deeply moved during several of the poems. That is what we are striving for, to make our audience feel deeply, think deeply about our fragile planet.

We have the benefit of brilliant poetry read by some of the Bay Area's finest talent. Each week in rehearsal I've had a different favorite poem! Brenda Wong Aoki's reading of "Calling To A Distant Animal" moves me every time I hear it.

Technically, things are in better shape than we might have expected for a show with so many elements. Thanks in large part to Joanne Bender, the production and company manager and her knack for getting people in the right place at the right time. We had the expected glitches with equipment along the way, a video snafu here and there, but nothing that Elaine Buckholtz can't handle!

I'm looking forward to the continuation of Tech Week, it really beats the hell out of American Idol. Extreme Talent, Focus and Imagination! More to come!

-Jayne Wenger
Men Think They Are Better Than Grass runs now through May 9. Click here for tickets.

Artists Take Business Crash Course At Z Space

2010-04-30T13:37:00.000-07:00

This blog post is provided by Cristóbal McKinney, Z Space's Administrative Director.

If you ever get a chance to join a Creative Capital Workshop, do everything you can to take it. This last weekend, Z Space hosted the latest Creative Capital Workshop in the bay area, offering 24 artists (including Deborah Slater, who’s dance group will perform at Z Space this weekend - Click Here For More Info), several observers, and a team of Creative Capital leaders a space where they can come together and develop the business and organizational skills that will springboard the rest of their careers. I was one such lucky artist who participated, and the event has changed my life.

As an artist, I have never been taught practical skill sets for managing the development and distribution of my own art. Creative Capital changed that. Even for artists who rebel at the idea of embracing commercial models, the workshop offered invaluable skill development in universally applicable areas such as contract negotiation, how to turn rejections of one’s work into opportunities, and an overview of popular marketing models.

And beyond the skill sets developed at the workshop, there was the amazing opportunity to spend a weekend with 24 artists doing exciting, interesting work. Just talking to other artists in the morning inspired me and energized me.

Most people may not think about what happens behind the Z Space doors when a show isn’t performing. What happens here, whether it’s advertised or not, is the development of art. I’m proud to work at a space that helps provide a home where art and artists can grow.

Working On The (repurposed) Factory Floor

2010-04-15T15:41:00.000-07:00

Vote for Z Space to win new furnishings for our home at Theater Artaud! Click here to cast your vote.

Z Space is a bustling arts center, hosting thousands of audience members and dozens of arts companies every year. We produce and develop new plays of our own, and we tour shows on other continents. We provide a unique, historic, and highly desired arts venue known for the high quality and affordability of its performances. Schools all around the Bay Area are enriched by our Youth Arts program, and we partner with community organizations to give high school students summer jobs. Despite all of this, however, we cannot afford to heat our office.

As simple a thing as heating is beyond our reach because of our unique workspace. Our workspace is an old factory floor, vast and beautiful, but extremely challenging for administrative work. We recently took over the lease on Theatre Artaud, and we’ve vowed to improve its facilities and continue its great history. For the last few years, the space was deteriorating, but after only six months here, Z Space has managed to rebuild the stage, improve the lighting and sound systems, and book dozens of theater companies for high quality programming. Z Space has revitalized this historic venue and brought new audiences through its doors.

Despite these great strides, we must face the cold days without space heaters because we cannot afford them. We must work in an office space that has the same oil-stained, smelly flooring that was present eighty years ago when the building was first erected. Our audiences must tread a thirty year old soft panel wood lobby floor that chips and wears with every performance, and they have to sit on folding chairs if the theater isn’t yet open. Guests to our offices must sit in thread-bare conference room chairs that sometimes have protruding nails or missing wheels. Our staff must yank open and slam closed old filing cabinets that look like they’ve been through a washing machine. Our box office personnel must be careful with their backs because their chairs don’t reach the counter. In addition, due to a scarcity of desk space, some of our staff have to coordinate in sharing desks and computers. The staff members who do have desks have no wall space near their desks to post important items, and no dividers that cut down noise and allow for private phone conversations or concentration on tasks.

The irony is that we have a tremendous amount of space, but it’s all vertical; most of the building’s floor space is taken up by the theatre and lobby. We believe this to be the primary asset for our work area, and if GoodDeeds were to help our company, we would first ask for new office furniture that created shelving, cabinets, and storage space above our desks. This would allow us to put in more desks so our company could spend less time juggling desks and computers and more time providing for our community. We would also request several space heaters that could keep us warm so that our spirits and our health were up to the daunting task of making art with little funding. So that our audience could sit in comfortable chairs while waiting for a performance, we would request a lobby makeover, fully equipped with a floor that didn’t need to be re-sanded and or repainted every two months. So that we could have phone conversations in private and so that we could concentrate, we would ask for wall dividers between the desks.

The Z Space does many things, but it uses the vast majority of its funds to put on award winning performances, to provide an invaluable arts venue to our country, and to go into classrooms and provide arts education to students who might never otherwise receive it. Because we love what we do, the concerns of our office space always comes second place in the budget, but this choice has its price. We spend more time than we should looking through awkward storage, we waste time negotiating between ourselves for desk access, we get sick from sitting in the cold all day. In essence, we waste time because our facilities are not up to par.

Thank you for considering Z Space and for this opportunity to present our case. We hope that you can help us continue our mission. We feel honored to be considered among the many worthy community organizations that have submitted.

Z Space: a place for art... and ping pong

2010-04-13T12:42:00.000-07:00

Today I decided to give thanks for Lisa Steindler, who personally takes it upon herself to bring in flowers for the office and lobby of our space. She’s the Executive Artistic Director, and she finds time to pay attention to the little things.

As I thought about it, I realized that I had never before played Ping Pong with my boss until I came to Z Space. One morning, shortly after arriving at the office, Lisa, myself, James Faerron, and Mark Jackson, grabbed some paddles and played an uproarious game of ‘extreme’ Ping Pong – essentially the same rules as regular Ping Pong except we enthusiastically used more surfaces than just the Pong table, i.e. the walls. I think it was the best time I’ve had participating in anything that’s considered an Olympic sport.

Yes, Z Space has a Ping Pong table. Jealous? Don’t be! Come play with us! But watch out for Jack Morse, our Patron Services Manager, he’s the office shark when it comes to Ping Pong. He’s awfully friendly, but can hit a Ping Pong like nobody’s business.

Well, it’s back to work now. I was just sitting here, lost in thoughts about projected costs, software upgrades, patron development, etc.. when I noticed the roses sitting on the table by the front door, and I thought it would be a good time to stop and smell them, as it were. - Cris McKinney, Administrative Coordinator

And the rush continues..

2010-02-12T09:37:00.000-08:00

Wow, it's been awhile over here at the Z Space blog. The year got off to a fast-paced start for us with the World Premiere of A Round-Heeled Woman. It was an incredible ride for us all, and we hope you were able to join us.

But we are, as always, looking forward to the future. Next up at Z Space, we're proud to host three amazing companies in our new home at Theater Artaud, not the mention the return of a favorite:

February 24-27: Kronos Quartet presents Kronos: Music from 4 Fences

On February 24-27, Kronos performs 4 programs in 4 nights at Z Space @ Artaud, featuring the West Coast premiere of Jon Rose's Music From 4 Fences. Premiered at the Sydney Opera House, the work features Kronos performing on four specially-built fences to create an eclectic aural environment, accompanied by a visual design by Willie Williams.

Each concert also features a work by one of the four young composers commissioned by Kronos' Under 30 Project, along with works by Terry Riley, Damon Albarn (Feb 24), John Zorn (Feb 25), Clint Mansell (Feb 26), and Bryce Dessner (Feb 27).

March 4-6: Hope Mohr Dance presents it's Third Home Season

Hope Mohr Dance presents works by three generations of female dance makers—Hope Mohr, Molissa Fenley and Yvonne Rainer. The evening features the premiere of Far from Perfect by Mohr, a new solo entitled Mass Balance created and performed by Fenley, and the legendary Yvonne Rainer’s pioneering work Trio A. Inspired by the work of painter Agnes Martin, Far from Perfect explores forgiveness and the creative process as two journeys that can illuminate each other. Mohr’s collaborators include poet Brenda Hillman and designer David Szlasa, whose visual environment combines projections of Hillman’s text, re-creations of Martin’s grid paintings, and home video footage.

March 24-28: The first annual KUNST-STOFF Arts Gala

Two exhilarating programs, featuring works by: Sara Shelton Mann, Yannis Adoniou's KUNST-STOFF, La ALTERNATIVA, and "Project 4x4" directed and performed by Annie Rosenthal Parr, Kathleen Hermasdorf, Yannis Adoniou, Andrew Wards; and Yannis Adoniou's KUNST-STOFF dance company revisits two critically acclaimed works, Un-state and Raqs al Moza with guest artists Dohee Lee, Jethro DeHart and David Petrelli

Last, and certainly not least, on March 20-21, Z Space is proud to present the Bon Voyage Benefit performance of Tennessee William's Two On A Party! Don't miss a chance to see Word For Word work their magic on a hidden gem written by one of the great American playwrights. Two performances only, before the cast and crew pack up and head out to tour the show throughout France!

For more information on upcoming events at Z Space, visit out Events page. For more information on Two On A Party, click here.

"It's no RentWalk, but it'll do."

2009-11-16T08:54:00.000-08:00

It’s totally exciting to be back at Z Space! It’s been about four years since I was collecting a regular paycheck here as Z’s first executive director (from 2001-2006). People always ask me if I miss [Z Space founder and then-artistic director) David Dower. The answer is YES. He was a lot of fun - one great idea after another, that’s what it was like working with David. The sky was the limit. We’re still in touch, even though he’s moved on to the major leagues. He’s still the same guy.

My favorite thing about the old Z Space Studio was our yearly RentWalk. As much as I don’t miss organizing them, they were some of the best times and we raised quite a bit of money. Staff walked, board members walked, artists walked. Over the years we walked with Josh Kornbluth, Anne Galjour, Brian Thorstenson, Doug Jacobs, Nina Wise, JoAnne Winter, Michelle Carter, Ellen Moore, Nancy Shelby, Patty Silver, Sheila Balter, the list goes on and on. The last one that Z Space did, in 2006, I happened to be at the hospital (having just given birth to my baby girl) and I called David Dower to tell him I was wearing my RentWalk T-shirt in the delivery room. Apparently in my post-partum delirium I was telling all the doctors and nurses about Z Space. I’m sure the sight of me giving birth with that huge Z SPACE RENTWALK logo on my T-shirt is etched into their brains, guaranteeing that none of those people will ever come to a Z Space anything.

Chloe is three now, and I’m happy to be back here. We’ve outgrown the RentWalk days, but in some ways nothing ‘s changed. Z Space is still the organization I loved at first sight, almost ten years ago. It still feels like the place to be. There’s always something cool going on. A reading, a rehearsal, a group of artists meeting. On any given day, music abounds, people rush around. Only now it’s even better, because I have these cathedral windows to stare at while I sit at my desk. And we have our own theater, which opens up so many opportunities. Even when the stage is not being used, just knowing it’s there, sitting empty, waiting for something great to happen on it, it makes me smile.

A few weeks ago we had our first reading of A Round-Heeled Woman, which is our big show coming up in January. A big coup, thanks to Lisa Steindler, who is amazing as Z’s current fearless leader. Sharon Gless was fantastic. Actually, everyone was good I thought, but she was a stand-out. Guess that’s why she’s the star. She brought See’s Candy suckers for everyone. She was incredibly gracious, funny, and read her character brilliantly without even trying. I was surprised how much presence she brought to the room, given that she had no make-up on, her hair wasn’t doing anything great, and she was in very casual clothes. Wow, I thought, she’s definitely has it, whatever “it” is. Something compelling about her. Sharon also offered to come in and do a benefit for us, free of charge, on her night off. Pretty cool. So we’re going to make it a fun evening, with a cocktail reception on January 11^th and then an interview with her on the stage, led by Jan Wahl from KRON (“the Hat Lady”) and ending with an audience Q&A . Can’t wait. It’s no RentWalk, but it’ll do.

-Laura Bergman, Development Director

Free reading this Monday!

2009-11-07T17:12:00.000-08:00

Z Space invites you to a free reading this Monday, sponsored by board member Anne Hallinan!

When Caryl Churchill's short play, Seven Jewish Children: A Play for Gaza premiered in February 2009 at the Royal Court in London, it met with an impassioned response--dividing critics and audiences. According to the Guardian, "The Guardian's Michael Billington called it a 'heartfelt lamentation ', while the Times found it 'straitjacketed political orthodoxy '. For Howard Jacobson, it is 'wantonly inflammatory '. Bloggers have debated whether the play--prompted by Churchill's ourtrage and distress at the then recent events in Gaza-- is antisemitic . It has been denounced as "horrifically anti-Israel...(and) beyond the boundaries of reasonable political discourse."

Tony Kushner and Alisa Solomon, writing in the March 26, 2009 issue of The Nation, defended Churchill against charges of anti-Semitism in an article titled "Tell Her the Truth:"

"We emphatically disagree," they wrote. "We think Churchill's play should be seen and discussed as widely as possible. Though you'd never guess from the descriptions offered by its detractors, the play is dense, beautiful, elusive and intentionally indeterminate. This is not to say that the play isn't also direct and elusive and intentionally indeterminate. This is not to say that the play isn't also direct and incendiary. It is. It's disturbing, it's provocative, but appropriately so, given the magnitude of the calamity it enfolds in its pages. Any play about the crisis in the Middle East that doesn't arouse anger and distress has missed the point.

Upon reading the Kushner and Solomon article, Z Space board member Anne Hallinan resolved to bring this brief play ( 6 pages, 10 minutes playing time) to San Francisco audiences, following the presentations in Washington, D.C., Chicago, New York, Cambridge, Los Angeles, and other U.S. cities. Joining with Word for Word Charter Member Patricia Silver to form Agora Theater (think 'marketplace of ideas' in the public square), they then enlisted writer/director Hal Gelb to create characters and situations from Churchill's text and direct the reading. Looking for a companion piece that would both compliment and contrast with Churchill's work, Gelb, Hallinan and Silver chose Israel Horovitz' What Strong Fences Make from among the several short dramatic works written in response to Seven Jewish Children. Horovitz' initial response was to turn down a commission by Washington DC's Theatre J, but he overcame his reluctance. Disagreeing with Kushner and Solomon, he was offended by Churchill's piece and decided that another voice needed to be heard, one that presents the moral dilemmas confronting Israelis.

On Monday, November 9, both plays will be given a staged reading at Theatre Artaud, courtesy of Z Space !

Cast members include Sheila Balter, Anne Hallinan, Danielle Levin, Anthony Nemirovsky, Robert Sicular and Patricia Silver. After the readings, multicultural consultant and family therapist Jane Ariel, Ph.D. will faciliate a discussion with the audience about the plays.

Admission is FREE and no reservations are necessary.

Both playwrights have made their work available free of royalties provided that no admission fee is charged and a collection is taken for the medical charity of the playwrights' choice:

Churchill requests that donations be made to Medical Aid for Palestinians (MAP) which works for the health and dignity of Palestinians living under occupation and as refugees: http://www.map-uk.org/
Horowitz asks that audiences contribute to One Family Fund, a charity offering aid to children wounded in attacks on Israel. (One Family Fund aids Israeli-Jews, Israeli-Arabs, Israeli-Druze, Israeli-Bedouins, and children of diplomats living in Israel: http://www.onefamilyfund.org/

An exclusive Z Space interview with Sharon Gless!

2009-10-29T10:18:00.000-07:00

Although she might be best known as Cagney of Cagney & Lacey, in recent years Sharon Gless has tackled the kind of roles any actress would envy: the outspoken Debbie Novotny on Queer as Folk, Madeline Westen on Burn Notice, and an Emmy-nominated guest stint on Nip/Tuck. But for her next big role, she’s on stage at Z Space, in what will no doubt be a memorable role: A Round-Heeled Woman. Sharon graciously took time out of her day to tell us more about a project that’s close to her heart and long in the making.

So I guess let’s start at the beginning. How did this story first come your way?

My husband and I had a huge fight one Sunday. Eight, almost nine years ago. And he stormed off to his office and I stormed off to my desk in the kitchen. He reads the New York Times from cover to cover. So he comes back to my desk, and he hands me the New York Times and says “if you had any balls, you’d go after that.” And he walked off!

I looked at it. It was an article in the New York Times about this woman named Jane Juska and this book she wrote about having all these men. I hadn’t even read the book, I called up my lawyer the next morning, and said “get it for me”. I loved her interview . She’s very articulate, and made the article very interesting.

It took me a year to get this. After several months going back and forth, [my husband] Barney said, “Call your lawyer up and say you want to do a TV series with it, that’s what you should do with it”. Have an adventure each week with a fabulous leading man. A different one each week. So I called up my lawer and said I’m going to do it as a TV series. They liked that. They thought I had the power to do that.

Well, it turns out I didn’t. But I got it. It was mine. Anyways, we tried everything. I took it to Rosie O’Donnell, who’s produced on stage, and she said “it’s fantastic…but I don’t ever want to produce again. But you’re a fool to let it go, because if you do, someone’s going to snatch that up. You keep it and you do it, and when you get tired of playing it, I want to play it.” So I thought, this is good feedback. I’m still on the right track.

And every year and a half, I had to re-up the option. When I look back, I thought it would’ve been so easy to sell it. Anyway, Barney and I had gone off to Italy, and we took a side trip to London on our way back to see Simon Moore and Jane Prowse (the writers responsible for the stage adaptation of Stephen King’s Misery). Barney gave them a copy of A Round-Heeled Woman, and said, “we think there’s something to this. Let us know what you think.”

Simon said “I love it, but I’m in over my head”. Never heard from Jane. Six months go by, and I get this fabulous call from Jane Prowse: “Sharon, I’m so sorry. I’ve gotten married since I saw you, and I’ve been around the world on my honeymoon. While I was going around the world, I read A Round-Heeled Woman. Not only is it fantastic, please – may I write it?”

So she goes to Brian Eastman, who produced Misery, so he knew my work, and Brian loved it. He saw the potential in it. And so two months later I sat down again with them, with Brian and Jane, and Brian says,

“Sharon, I don’t think this is meant to open in the West End immediately. It’s so American.” So he listed all these towns: “No…no… no… no… San Francisco? San Francisco.. yeah.. San Francisco. San Francisco is very cool”.

Well, we couldn’t sell it in San Francisco! But the team went around, to speak to theatres that they felt were appropriate, and as part of that, they met [director] Chris Smith. I couldn’t be happier. He’s the right director for this piece. And now we’re opening here at Z Space, and we can’t believe it.

What’s exciting is Jane Juska, the real woman, she lives in Berkeley. The only person more nervous than myself is Jane. My greatest joy in this entire process will be to introduce Jane Juska to that audience. She had such a journey, and she’s so brave. I hope we do it well.

It’s interesting how when an actor more known for film or television does stage, the first question people usually ask is “Why this role?”. But it sounds like the better question here is, “Why NOT this role?”.

I think the problem is because nobody wants to hear about a woman my age who has sex. But it’s more than just that. It’s more than just Jane getting laid. It’s not just that. It’s the whole journey of this woman’s self-discovery, but primarily her courage to take out this ad and say “this is what I want.”

She’s in therapy throughout, and we do it on stage, we run through it every time she gets hurt or burned or humiliated… and it is. Some of it is a humiliating ride. I went to hear Jane Juska speak at the 92^nd Street Y. We’d never met, but she knew I was there, and one woman said “Ms. Juska, why did you humiliate yourself like this?” And Jane looked right at her and said “I had not been touched in 30 years.” Imagine someone not being touched in 30 years. I mean, shaking hands, yes, but still – “ I’m going to be 67, and I’m not going to die without experiencing this pleasure.”

You’re definitely known for creating memorable roles in a television, but with those you have the chance to really develop a character season after season. What’s your approach for stage, where you’re taking us through the entire life a character in just one night?

When you have the longevity of a TV series, it’s fun. The character grows and grows and grows. Whereas each night, here, we have one shot. Once I’m out there, I can’t yell cut. They say theatre is the most fun of all, but I was trained on film, so theatre’s scary for me. Most actors are trained for the stage, then they get a guest spot on a TV movie, and they can make some money, and they go on. My experience was exactly the opposite. I’ve done plays in the West End, but this is perhaps the most courageous thing I’ve ever done. Just like Jane Juska. This is the most courageous thing Sharon Gless has ever done.

And finally – you cite, LA, Toronto, and Miami as your favorite cities. Is there anything San Francisco can do to get an honorary mention on that list?

I have a home in Los Angeles – I’m born and raised, that’s my roots. And then my husband retired and moved to Miami, so that’s where I lived for 13 years. And I did Queer As Folk in Toronto for five years, and I just fell in love with it, and I kept my apartment there. So that’s where I spend my time. But to answer – that depends on how we’re received here in San Francisco. Ask me in March!

Well, San Francisco is lucky to have you, especially from knowing your amazing work on Queer as Folk, and I think a lot of people here will be excited to take this theatrical journey with you!

Thank you – we hope everyone will come and take the ride with us.

A Round-Heeled Woman opens January 5, 2010 at Z Space. Tickets available here or by calling 1-800-838-3006. Visit www.zspace.org for more information!

Letters from Paris

2009-09-28T14:49:00.000-07:00

Here I sit in my top-of-the-stairs (8 flights, American, 7 flights, French; NO ELEVATOR) apartment in Paris. The weather is perfect: that sort of fresh, hazy morning which brings a soft light not unlike San Francisco and its ocean mists. This past weekend was the Journee du Patrimoine: austere French ministries in hotels particuliers; a little hidden Russian Orthodox church built all of wood, encircling two living trees; grand monuments like the Ecole Militaire and the Opera-- all open their doors to the public in this once-a-year weekend. And voila, the history and beauty of Paris abounds. The street teemed with people all eager to take a good long look at their national treasures. I have long believed that Paris IS theater; not only for the beautiful settings and its surprise moments (that Russian church!) but also because of the way the chairs in the cafes are aligned: facing outward so the passing street scene can be observed, commented on, and most of all, appreciated and loved.

People here in Paris ask me constantly about Word for Word. They are very excited that "Two on A Party" comes to town (many towns all over France!) in March: I've warned of its "adult nature" and no one seems the least bit phased. In fact, they are thrilled to see a short story by the great American writer Tennessee Williams. It is France, apres tout. As for my immediate plans, I will be teaching in the Word for Word style, and have a wide range of workshops just waiting--from small children at the Ecole Bilingue where I've taught many a time with other Word for Word women, and which I love for it's creativity and joyful spirit, to high school students at BRIO, a special nation-wide program dedicated to bringing lyceens to the university, to a full-on 12-week acting workshop for adults. Next stop, the Paris premiere of Tobias Wolff's Bullet in the Brain. ( Credit to Stephanie Hunt. Remember the parachute? It's here, waiting in a closet in an apartment in the 7eme for its next adventure. )

I miss San Francisco and our creative team and our new home at the Artaud more than you can imagine, but let's face it: Paris is, after all, Paris. As Mavis Gallant (author of Mlle. Dias de Corta, among many other stories, said when someone asked her why she moved from Montreal to Paris : "Have you seen Paris?" )
And, of course, there are so many Parises to be seen. I'm reading a great book by David Downie entitled "Paris, Paris" which is a fascinating look at and history of everything from the Luxembourg Gardens to the mess made by President Pompidou to Mme. X, a "seduction expert".

Everything is fresh and new and a little overwhelming (not the least being my projected visit tomorrow tothe Prefecture de Police to get my working papers in order), but very exciting and full of promise. I'll keep the Letters from Paris coming.

-Sue Harloe

Artistic Director, Word For Word

p.s. Being in Europe brings an awareness of the weight of centuries of history. To that end, I recommend that everyone go and see Word for Word's next Off the Page, "The Tumblers", and see the brilliant story that Nathan Englander has conjured out of a dark and desperate time. October 14, JCCSF 8 pm.

Class tensions

2009-09-16T15:39:00.000-07:00

Came across this headline today, just as part of my general perusal of news: "College student with sword kills burglary suspect". Ok, I'm intrigued. In a nutshell: a John Hopkins student who had a samurai sword on hand when his house was broken into killed a burglar in what seems like self-defense. But what got me most about the article was this quote:

Kenny Eaton, 20, a junior political science major at Hopkins who lives nearby, said there was some tension between students and lower-income residents of nearby communities. The private Johns Hopkins is known for its health and science research and has about 4,600 undergraduates on its main campus. "You take kids who are paying $50,000 a year (in tuition) and then put them out in a very dangerous city environment, it's almost like a clash of civilizations," he said.

What's interesting here - and serves reiterate the Class Divide Initiative at Dartmouth which was the impetus for You Can't Get There From Here - is the implied sense of status. The juxtaposition of a $50,000 education vs. a dangerous city environment makes me wonder - at what point does it not become a clash of civilizations? When it's only a $10,000 education? What about the students who are on Financial Aid? The article references tensions between students and low-income residents - but what about the low-income students? By putting that price tag on the students, it's as if they're meant to be something above and exclusive to the world around them.

Just my two cents. Feel free to add yours, or join us after the show tomorrow night or next Thursday for a session of cross-class dialogue led by Anne Galjour that explores the issues at hand!

-Reynaldi Lolong, Marketing Associate

Good times had by all

2009-09-13T01:42:00.000-07:00

Thank you to all for joining us on Thursday evening for the opening night of our Preview Season at Theater Artaud! We're excited to share our future with the community. Courtesy of Cheryl Mazak, here's a smattering of photos from the first of what will surely be many open house events to come.

THEATER REVIEW: Class Struggle at Z Space

2009-09-13T01:31:00.001-07:00

THEATER REVIEW: Class Struggle at Z Space, courtesy of MissionLocal

Also check out our review in the San Francisco Chronicle:
"Innate charm and sensitivity...as the people spring to life, their stories are well worth telling and told well."

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Starting the school year right

2009-09-01T09:39:00.000-07:00

Greetings to you all from the program administrator for Youth Arts here at Z Space. Specifically what we do are workshops and residencies with students from grade 3 through high school using Word for Word techniques to activate literature and bring stories to life. Since school has just started, we don’t currently have any workshops running (although that will change in the next few weeks, so check back!), so I thought I’d let some of the classroom teachers we worked with last year have their say, and show you some photos from past workshops. - Valerie Weak, Youth Arts Program Administrator

“Students are engaged deeply by Word for Word approaches; several students who say they “hate” reading (because it is difficult) were completely engaged in this process”

-Bayside Elementary School

“I got to see shy students shining. I saw english language learners speaking loudly and proudly. I saw the students work together, speak positively about each other, and encourage each other.”

-San Pedro Elementary School

“I saw my students up on their feet interacting joyfully with one another while interpreting literature. What’s not to love?”

-Ida B Wells Continuation High School

Fresh off the page

2009-08-27T11:21:00.000-07:00

Wow. I'm sitting here at Theater Artaud, our new home, looking out through these amazing leaded glass windows. It's hard to believe it is true. We have our very own theater! Lisa Steindler, our Executive Director here at Z Space, and David Szlasa, our Managing Director, and all of the staff, have been working so hard over the last few months to make this happen and all that hard work has paid off. Our first event in the space is next Monday, (8/31), and we're starting off with a bang.

Word for Word's "Off the Page" staged reading series begins with T. C. Boyle's story "Killing Babies." It's a very provocative look at intolerance and unchecked anger from both sides of an issue. Boyle pulls no punches with the character of Rick, (played in our reading by the wonderful Alex Moggridge), fresh from his second stint in rehab and with a big chip on his very hip, southern Californian shoulder. He's been sent to live with his doctor brother and do menial, minimum wage labor in his brother's clinic. What Rick doesn't bargain for is his reaction to the band of protestors outside the clinic.

We have a terrific group of artists assembled for this reading. Directing for Word for Word for the first time is Matthew Spangler. Matthew is an Assistant Professor of Performance Studies at San Jose State University, where he directed the original developmental production of "The Kite Runner", which he adapted from Khaled Hosseini's novel, and which was also produced at San Jose Repertory Theater. He has adapted more than 30 novels and short stories for the stage. His plays, which have been produced throughout the U.S., U.K., Ireland and France, include a one-person show of James Joyce's Dubliners; an adaptation of Ernest Hemingway's short stories; and Mozart!, a musical-theatre adaptation of Wolfgang Amadeus Mozart's letters.

Our most talented cast includes the aforementioned Alex Moggridge, Will Huddleston, our own Amy Kossow, Matthew Purdon, El Beh, Matt Lowe and Nina Moog. Nina incidentally is interning at Z Space until she returns for her second year at college in Scotland. We first met Nina when we were in residence at Lick Wilmerding High School, and Nina starred in a wonderful story we staged there by Julie Orringer, called "The Isabel Fish." That's the great thing about being part of Z Space - there are so many opportunities to develop young talents...and older talents for that matter! You can start out doing a workshop with our Teaching Artists, which leads you to an internship, which leads to an acting role. Come to the Z to design, or direct, or act in one project, and you might bump into someone else working on a completely different project, you get to talking and before you know it - you're both collaborating on a brand new project!

I'm really excited about the Off the Page series. It gives us and our audience an opportunity to explore many diverse stories. Much as we'd like to, we can't produce every story that we love and these readings help us narrow down the choices. They also give the audience a chance to see behind the scenes a little - get an idea of our process.

And we have some great writing to experience in the next few months! In September we have a special reading that is also a fundraiser for Z Space and Word for Word: Savory Thymes: a reading of M. F. K. Fisher's story "I Was Really Very Hungry" and a gourmet meal modeled after the one the protagonist of the story describes, served in a gorgeous garden in Mill Valley - don't miss it! 9/12, 5:00 pm. October 14 brings Nathan Englander's "The Tumblers" - 8pm at the Jewish Community Center of San Francisco. In November we're thrilled to be able to do a Chapter from Elizabeth Strout's Pulitzer Prize-winning novel Olive Kitteridge - for that we'll be back at Artaud on November 23 at 7pm. On December 14 at 7pm we reprise our reading of Truman Capote's "A Christmas Memory" which was so popular last year.

I hope to see many of you here at Theater Artaud for the beginning of our Off the Page series and the beginning of our new chapter in this wonderful new space!

-JoAnne Winter