May 17, 1985 |
In this corner, the Moral Majority and the War Machine. In that corner, Factwino and one valiant branch librarian. That's the lineup in the San Francisco Mime Troupe's "FACTWINO: The Opera" at the Variety Arts Theatre, and there is no doubt which way the boo's and the yay's are supposed to fall. But, as when watching Handsome Harry take on Murk the Turk on late-night wrestling, there is this tendency to root for the bad guy.
May 29, 1986 |
In their own words, "We sing, we dance, we tell the truth." They are the San Francisco Mime Troupe, whose "Spain/36" (with song, dance and, yes, truth) opens next Thursday at the Los Angeles Theatre Center.
August 2, 1987 |
Quite simply, I don't see sexism on the stage today. I'm 29, Los Angeles-born and bred. I take responsibility for my career. I open my own doors (but don't take out the garbage). I watch. I read. I meet a lot of people. I see a lot of plays. In the past year, I've been to the theater 136 times, at least--my date book may be missing a few last-minute entries. Yes, there is the occasional insult.
November 17, 1993 |
Trade politics makes strange protectionist allies--even in theater. The San Francisco Mime Troupe, a left-wing theater collective with roots in the freedom-riding '60s, finds itself agreeing with Republican right-winger Pat Buchanan in its current touring show, "Offshore," about the human cost of the global economy. "It feels weird being on the same side as he is," the troupe's resident playwright, Joan Holden, admitted recently during a telephone interview from San Francisco.
June 23, 1987 |
Joan Holden, resident playwright, spokeswoman and part of the handful of the untitled leadership of San Francisco Mime Troupe, leaned forward in her chair. She spoke with intensity. "Now that we're an institution," she said of the 28-year-old "artists' collective" that won a Tony this year as the nation's best regional or not-for-profit theater, "I'm horrified at the idea that the institution takes on a life of its own. There is the constant struggle not to let it stifle the art.
June 20, 1997 |
There's such a wonderful look and feel to Stephen Kay's "The Last Time I Committed Suicide" that it's a shame it doesn't truly come alive until its climactic sequence. In a singularly audacious and encouraging feature debut, Kay has written his script from the so-called "Great Sex Letter" that Beat icon Neal Cassady wrote to Jack Kerouac, who would immortalize him as Dean Moriarty in "On the Road."
September 1, 1991 |
Eric Trules is no Peter Sellars. Nor is he trying to be. As Sellars did for his globe-hopping, mind-bending 1990 Los Angeles Festival, Trules, who was artistic director of Santa Monica Festival '91, is trying to bring the world and the city together for a celebratory redefinition of what theater can be. Unlike Sellars, however, Trules isn't driven by any overweening vision of the cultural skies opening up over the L. A. Basin.
August 13, 2000 |
"Angels in America" seems like a long time ago. Fueled by leftist outrage over Reagan-era social policies, Tony Kushner's Pulitzer Prize-winning play debuted at the Mark Taper Forum in 1992. Here was old-fashioned political engagement on a stage, light on its feet and ready to rumble.