by Brian | Jul 14, 2012 | Blog, The Merchant of Venice
Doing a little catch up on the blog today. We’ve had some great coverage for our production of The Merchant of Venice. Starting with this article in our paper of record, The San Francisco Chronicle:
“Bousel notes that while the famous “quality of mercy” speech is one of the most articulate arguments for common decency ever written, the irony of the play is that common decency is noticeably lacking from beginning to end, which is perhaps why directors tend to shy away from producing it.”
Read the whole article here!
by Brian | Jul 9, 2012 | Blog, The Merchant of Venice
Photos are by Jay Yamada, and were shot at our final dress rehearsal.
To download a high-resolution photo, click on an image. Then right click and “save image as”
[nggallery id=7]
by Brian | Jun 24, 2012 | Blog, The Merchant of Venice
As a special, sneak-preview to The
Merchant of Venice, check out this unedited version of director Stuart Bousel’s note to the audience. A shorter version will be in the program, but read on to get some great insight on Bousel’s take on the play, and what to expect from this rarely produced, but essential, play. Tickets are now
on sale here!
When I read Merchant of Venicein high school I remember being righteously indignant about it, at least partly because I was a teenager and wanted the whole world to know how liberal and accepting I was. The irony, of course, was that in my push to be liberal and accepting, I failed to actually give the play a chance, or see past the uncomfortable parts to the merit of the work. My fellow students reacted similarly, and our conversations were about how much we hated the play, rather than what it might actually be about. Years later, I visited my old teacher and when she mentioned she was teaching Merchant again. I asked why. Her response: “Book clubs are for literature appreciation; English class is for developing critical thinking skills.”
In 2008, I put together a staged reading of Merchantto raise funds for the legal battle against Prop 8 and I know my text selection was due to my teacher’s remark. I wanted a play that could articulate all the anger I felt but also make a plea for rational and productive reactions, instead of encouraging more hatred back. Following the passing of Prop 8, I had been astounded by all the socially liberal men and women I knew who were so quick to look for blame and usually placed it along race and class lines. People who should have known better said things like, “It was the Asians! It was Latinos! It was the Christians! It was the lower class!”, probably never realizing how much they sounded like the people they felt had wronged them. But an “us vs. them” mentality runs rampant when we forget that each person should be treated as an “I” and a “you.”
Venice in the 16th century was a cosmopolitan melting pot of pirates, slaves, courtesans, fortune-seekers, businessmen, new wealth and old money, in addition to Eurpean, Asian and African cultures. Like the modern USA, many of those groups didn’t co-exist peacefully, and their values often clashed. Merchant isn’t a play about Jews any more than it is a play about homosexuals, women, princes, servants and traders- all of which are depicted. Merchant is a play about modern society, and it’s the first I can think of that recognizes that the modern state is defined by diversity of thought and the inherit pressure on the individual to either commit to the role they’ve been born into or carve out a new one of their own. The individuals of Venice exist in a constant social turmoil defined by selfishness and generosity, forgiveness and revenge. The play is about what drives us to choose one over the other, and how everyone has it in them to choose either or both.
Spoiler Alert: I made several cuts and changes for my production of Merchant, to make the show more accessible to modern audiences. Most of the changes are minor, but there is one worth noting: in the trial at the end of the play, the character of Antonio is offered the chance to forgive Shylock’s attempt on his life. He does, and then quite infamously makes Shylock convert to Christianity. In our time it is hard for an audience to witness this and not condemn Antonio. What he’s doing is wrong, but when this play was written, Antonio’s action would have been perceived as benevolent: he leads Shylock to God’s grace. I have cut the two lines referencing the forced conversion so that a modern audience could experience the play’s themes of forgiveness sans the taint of medieval anti-semetism. Thus, for all this production’s contemporary trappings, our Merchant is spiritually closer to the romantic comedy it was in the early 17th century.
by Brian | Jun 4, 2012 | Blog
Custom Made proudly invites you to join us for a special workshop performance of a World Premiere musical comedy!
One Good Day
a romantic musical comedy
music by Rona Siddiqui (“A New Brain”, “Putting it Together”)
book and lyrics by Elizabeth Suggs
directed by Gabriel Grilli (“The Old Neighborhood”, “Orchards”)
Janey Hanks believes that all it takes is one good day to change your life forever–one day to meet someone and fall in love–one day for big, brave things to happen. Too bad this day’s nothing like that.
One day only! Saturday June 9th, 3pm
Gough Street Playhouse
The Cast:
JANEY – Jill Seagrave Head
KAT – Liz Seagrave Nunan
JOHN – Alex Rodriguez
ETHAN – Chris Morrell (“A Bright Room Called Day”)
DENNIS – Benjamin Pither* (“A New Brain”. “Woody Allen’s ‘God’ and ‘Death'”)
NITA – Alexis Wong
CHAD/BRIAN ELLIOT – Joey Contreras
ALICE – Amelia Hart
*appears courtesy of Actor’s Equity Association
This is a pay-what-you-will event! (suggested donation: $10, but if you are broke, less is cool; if you are loaded, give more and help support a great project!)
If you RSVP, we’ll save your seats. Just show fill out this form, and show up by 2:45! We will send you a confirmation:
by Brian | May 10, 2012 | Blog
On May 22, Custom Made will be bowling for the arts in our 5th (Holy Cow!) annual bowl a thon!
How it works:
– We go bowling. No, we’re not very good at it, but we do like the fact that it is loud and involves beer.
– You sponsor your favorite Custom Made staff member/company member per pin.
– We bowl two games
– We multiply the total number of pins, over the two games, by your pledge.
– We send you instructions on how to pay (PayPal, credit card, check or cash)
– All money raised goes to the Annual Fund (that’s how we put on shows!)
Thank you SO much!
by Brian | Apr 5, 2012 | 2012/13 Season, Auditions, Blog
General auditions for San Francisco’s Custom Made Theatre Co. 2012/13 Season are Sunday April 29th (afternoon) and Monday April 30th (evening) and now Tues May 1 (Happy May Day!) in the evening. Please prepare 2 contrasting, modern 2-minute monologues.
To sign up for a slot please go to https://instant-scheduling.com/sch.php?kn=360707
Having problems? Can’t make it but still want us to have your headshot/resume? Contact Casting Director Gabe Ross at [email protected]
Our season includes: “The Play about the Baby” by Edward Albee, “Superior Donuts” by Tracy Letts, “Why Torture is Wrong, and the People Who Love Them” by Christopher Durang, “Eurydice” by Sarah Ruhl, and “Prelude to a Kiss” by Craig Lucas
All performances, rehearsals and auditions are at Gough Street Playhouse, 1622 Gough St, San Francisco.
Actors receive a stipend.
Here’s the parts/breakdown/requirements of the season:
*note: the ages listed are “playable age”. If you are 65 and can play 40, by all means go for it!
** note: unless the part has specific, required needs (see DONUTS and some characters in TORTURE) Custom Made is color-blind. We cast the best actor, regardless of ethnicity. Always.
“The Play About the Baby” by Edward Albee (San Francisco Premiere)
Directed by Brian Katz
Rehearses August-Sept 2012
Runs Sept 7-Oct 7, can extend until Oct 14
Man: 40-65
Woman: 40-65
Boy: 18-28 (full nudity required)
Girl: 18-28 (full nudity required)
“Superior Donuts” by Tracy Letts (San Francisco Premiere)
Directed by Marilyn Langbehn
Rehearses late Sept- early Nov
Runs Nov 2-Dec 2; can extended until Dec 16
Arthur Przybyszewski: Polish-American, 59 (no accent)
Franco Wicks: African-American, 21
Max Tarasov: Russian, 49 (accent required)
Kiril Ivakin: Russian, 39 (accent required)
Lady Boyle: Irish-American, 72 (accent required)
Officer Randy Osteen: female, Irish-American, 49
Officer James Bailey: African-American, 43
Luther Flynn: Irish/Italian-American, 28
Kevin Magee: Irish-American, 28
Why Torture is Wrong, and the People who Love Them” by Christopher Durang (Bay Area Premiere)”
Directed by Claire Rice
Rehearses Dec-Jan 2012/13
Runs Jan 11-Feb 10; can extend until Feb 24
Felicity – a perfectly nice young woman of 25 to 34
Zamir – a charismatic young man of indeterminate ethnicity; dark-haired, probably Pakistani or Egyptian or Indian. But could look Italian or Greek too. Does not have an accent, sounds American. 25 to 39
Luella – Felicity’s mother, sweet, somewhat dazed/befuddled woman. Dresses well. Late 40s to mid 50s.
Leonard – Felicity’s father. Strong-minded, formidable, one hundred percent sure he’s right about everything. Late 40s to late 50s.
Revered Mile – a minister who directs porno movies. Late 30s to late 40s. Likable face, bit sexy, mildly debauched feeling like a Mickey Rourke or Kevin Spacey.
Hildegarde – a conservative, old-fashioned woman in her mid-40s to late 50s.
Voice/Narrator – 20s to 40s. Well-spoken, must make announcements. Also plays Loony Tunes (a hyperactive spy) and the sauve Maitre d’ Sings well.
“Eurydice” by Sarah Ruhl (San Francisco Premiere)
Directed by Katja Rivera in collaboration with Brian Katz and Daunielle Rasmussen
Rehearses Feb-March, 2013
Runs March 15-April 14, can extend until April 28
Eurydice – Female, 20s
Orpheus – Male, 20s. Must be a capable musician.
Father – 40s to 50s
Loud Stone
Big Stone
Little Stone
Nasty Interesting Man/Lord of the Underworld – Male, 30s to 50s
“Prelude to a Kiss” by Craig Lucas
Directed by Stuart Bousel
Rehearses April-May, 2013
Runs May 17-June 16; can extend until June 30
Peter Hoskins – Male, 20s
Rita Boyle – Female, 20s
Old Man – Male, 60s-70s
Taylor – Male, 20s or 30s
Mrs. Boyle – Female, 50s
Dr. Boyle – Male, 50s
Aunt Dorothy/Leah – Female, 50s or 60s
Tom/Jamaican Waiter – Male, 20s or 30s
Minister – Male, 30s to 60s
Uncle Fred – Male, 50s or 60s
