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Crowded Fire Theater Company
Rating Details »
Categories: Performing Arts, Local Flavor [Edit]
Neighborhood: SOMA131 Tenth St.
San Francisco, CA 94199
(415) 255-7846
- Good for Kids:
- No
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"Fantastic venue - I saw Streetcar on closing night. Its within walking distance, which is fantastic, and there's always something intriguing…" read more »
13 reviews for Crowded Fire Theater Company
Crowded Fire consistently raises the bar with their bold, imaginative, powerful productions, e.g. Anna, Bella, Eema; Slow Falling Bird; and Wreckage.
One of the few theatres in the Bay Area that regularly produces new and exciting work by contemporary playwrights, CF isn't afraid to take risks.
If you're wondering what's the difference between television/film and theatre, go see a Crowded Fire show.
I'm a big fan of their work, of the company members, and can't wait to see what they produce next.
DRIP is a ravishing, soaring, profound, and resonant new play by the gifted and up-and-coming young playwright Christina Anderson. This visually stunning play is directed with great power, and brought to life by a richly talented ensemble. The journey of Mae Roslyn, heading into her past and her future at the same time as she struggles to heal her scars and to pass over into death's dream kingdom, intertwines with the hard and necessary inner journey of her grandson.
The space at the Boxcar Theater, on Natoma Street in SF, has been opened up beautifully and imaginatively. Full disclosure: I am a relative of one of the theater artists; yet I am also a writer, and a lifelong theater goer, and I have found it rare to come upon a play (and a production) as moving, luscious, and life-changing as this one.
4 Previous Reviews: Show all »
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5/13/2009
I was bowled over by the beautiful, risky World Premiere of Caridad Svich's play WRECKAGE, playing… Read more »
I say support local theater...no matter how challenging it may be to experience.
So I was watching this episode of "That Girl" on DVD where struggling bouffant-challenged actress Ann Marie is in an experimental play called "A Bunch of Artichokes". She makes her Brylcreem-saturated boyfriend Donald come see her in it, which of course, forces him to confess he hated it. Donald was not an open-minded fellow, at least artistically, and well, I have to admit I may not be either...
First, it's good to know theater is alive and kicking in all sorts of venues throughout the city. I like the big shows at the Orpheum, and I like the small ones like the spartan production I saw of Stephen Sondheim's "Assassins" performed by the Custom Made Theater Company. I even braved crossing 6th Street to see that one. So I came to this one with an open mind....really....
The Crowded Fire Theater Company is performing a ninety-minute play by Charles Mee called "Gone" at the SF Playhouse up on Sutter through March 2nd. I saw it last night, and from what I could tell, it was a meditation on personal loss using a variety of formats (song, monologues, performance art, etc.) and snatches of works from all sorts of writers to induce discussions about grieving. It follows an omnibus format without providing any single narrative thread. That may be the rub. Some people respond viscerally to such treatments. Others, like me, get easily confused despite moments of honest profundity.
There are four in the cast, all quite talented (though the women definitely seem much more alive than the men), and the set is made up of a sandbox filled with dirt, lots of movable doors, a couple of lamps, and things to tape on the wall. The props are used in an expressionistic manner, and the actors alternate moments of whimsy with scenes of poignancy. The bits are so brief and often confusing in nature, that the irony of the comments went over my head.
At the same time, the emotional disconnectedness of Mr. Mee's piece is probably intentional since we are meant to react to the abyss into which each character is afraid to fall. Of the cast, Mollena Williams is the standout since she conveys the currents of gravitas and humor much more fluently than the others. Constantly flouncing around in her gauzy dress, Marilee Talkington bears such a striking resemblance to Molly Shannon that I was afraid she was going to hurl herself through a wall. The energy of this production is rewarding even if the play itself is rather questionable.
Here's a promo video for the production...
http://www.youtube.com...
I went to see CFT's performance of "Gone," by Charles Mee. I still have Montgomery Gentry in my head and the smell of fresh dirt in my short-term memory...
I really liked the creative use of lamps and the set design, and enjoyed watching the cast puttering around when it wasn't their turn to speak. I also enjoyed being able to visit with the cast after the show and learn more about how they put the production together.
I didn't mind the seemingly random tributes to grief and loss. In fact, it was refreshing to see others experiencing it instead of doing so myself (holla, 2007). Some of the moments were so raw, honest, and touching that I found myself nodding and saying "mmm hmm" to myself. The insomniac character simultaneously bugged and bored me, but I liked that actor in other roles and thought the cast as a whole was very talented.
I recommend this show to those folks that appreciate subtle, lyrical, poignancy and don't require a linear plot.
Avant-garde theatre. Doesn't that term just make you want to run screaming for the hills? And yet, when the right play is done well, it's incredibly powerful.
Like Last Planet Theatre (one of my other favorites), Crowded Fire is a daring small company that does fantastic work with new plays that are experimental, nonlinear, abstract, etc. I've seen four CF shows, and each has featured excellent directing, acting, and production values, especially for a company on a limited budget.
The shows are lyrical, beautiful, poignant, transcendent. They bring up dormant emotions; they make you look at things in new ways -- or even old ways you'd forgotten. You will most likely leave the theatre astonished at what's possible on stage.
Ok. I'm not cheating. I'm just an actor with no ties to this company.
The bottom line is that I trust Kent N. He is one of the co-artistic directors.
Hold onto your butts, here come the new Crowded Fire.
OK, here's the deal. Full disclosure. I'm the new marketing director here at CF and we're launching a new web presence which (hopefully) includes reviews from real people, not the critics, cuz you are really who we aim to entertain, challenge, stimulate, you name it.
We're a small company, but we rock. I say this as a long time CF fan and theater go-er in general. What kind of stuff do we do? We like smart theatre. We like stuff that plays around with language and structure. We do plays and work with playwrights who aren't being produced in the Bay Area, but are winning awards and strutting their stuff elsewhere. We like to think of ourselves as "indie theatre."
Will you always like the plays we choose? Probably not, that's the essence of art, isn't it? But I bet you will always have some sort of strong response to it...that's the kind of theater we do.
We'd love to have you out to see a show and then HEAR back from you through this forum.
OK OK OK... so I am cheating a little bit here. I am one of the artistic directors of this fiesty little company. But, I have only been in this position for a month and the company has been around for 10 years. I have seen most everything they did in that time and I must say, that's the reason I wanted the job.
This little theater company has helped change the landscape of small professional companies in the Bay Area. We do contemporary work which is smart, political, and independent minded. If you like Independant film you will Love Crowded Fire.
Check us out...
In addition to serving as a breeding ground for mono, teenage pregnancies, and future douchebags of the world, my high school was one of the few schools in Hawai`i to have an actual repertory school of the arts. And since I'm in the business of CONFIRMING STEREOTYPES, it shouldn't surprise you to hear that -- along with pining over straight boys and spending a lot of time in the library -- I was QUITE the active theater student, though I never did MUSICAL theater, I'm not THAT fucking gay. Maybe it's because I could apply makeup with abandon...or because I had entire rooms filled with costumes and clothes at my disposal...or because all the hot boys like George, Kaleo, and Bill were also theater kids...or because I got the opportunity to pretend to be someone I'm not, I mean, aside from pretending to be STRAIGHT...but the theater was the sole, shining beacon in my otherwise drab and depressing adolescence.
I felt the pull of Shakespeare, of course; I had a turn as "Thomas" in Sister Mary Ignatius Explains It All For You; I had my 'triumvirate' of favorite playwrights: Beckett ("...I can't go on..."), Pinter ("...I'll go on..."), and Mamet ("FUCK YOU, YOU GOY MOTHERFUCKING COCKSUCKER").
What happened?
Well, I realized I couldn't make ends meet as an actor. Let's face it: unless you're a martial arts master or fancy playing the Dragon Lady, there aren't a lot of roles for Asians. It's total bullshit of course, because have you seen ME play King Lear? WELL HAVE YOU?!? I FUCKING OWN THAT ROLE!! But NOOOOO, no one ever stages an ASIAN King Lear, nuh-uh! Oh you are men of stones! Had I your tongues and eyes I'D KICK YOU IN THE BALLS.
So until I went to see the Crowded Fire Theater Company production of "Gone" by Charles Mee a few days ago, it had been YEARS since I watched a play and yes I am a VERY BITTER PERSON.
Performed by an ensemble cast, "Gone" is a non-narrative, 'bricolage' play of different texts drawn from both traditional (Sophocles, for example) and contemporary (blogs and obituaries) sources. What brings these discrete materials together is the theme of evanescence, of disappearance, and of the strong human desire to hold onto these moments even as they slip through our fingers.
As a play, I thought Gone was compelling in some respects and flat in others. I enjoyed the rendition of Philip Larkin's "Aubade" in a dramatic context, and I thought the 'blogger' moments were hilarious if only because I could relate SINCE YELP IS MY BLOG. On the other hand, there's a REALLY GOOD REASON why Proust isn't PERFORMED, despite the valiant efforts of Marilee Talkington -- with his interminable sentences, subordinate clauses, and liberal use of the subjunctive it's fucking BORING, and I say this as someone who LOVES Proust.
Tom Stoppard says somewhere that the "theatre is a pragmatic art form," at least I think it's Stoppard, but what the fuck do I know, well at any rate I'm sure it wasn't Andrew Lloyd Weber, who has but TWO registers -- trite and platitudinous -- and the profundity of a puddle. ANYWAY, the point is that all plays are mediated by the performers and the director: it is less a decree issued from the pen of the playwright and more a collaboration between author, performers, and the audience.
On this score, Crowded Fire Theater Company is faultless. They get it. Every aspect of the performance had the patina of decay: from the props (the dirt pit, discarded rickety doors, an antique lamp) to the costumes (disheveled and seemingly pulled from a trunk) to the lighting, everything evoked a sense of lost time in the tiny crucible of the SF Playhouse. They also held a discussion after the performance where the audience was allowed to ask questions and, in a sense, become more involved with the production. Also, I unequivocally applaud them for taking a risk in choosing to stage this play and not kowtowing to the incessant demands of "accessibility." Perhaps they will produce a play from one of my favorite playwrights in the future.
Five stars for eroding MY BITTERNESS towards the theatre! I encourage you to check out "Gone" and future productions of Crowded Fire. Maybe I'll see you there, just don't expect me to say hello.
Look, I said "MAYBE," fuckers.
Crowded Fire does consistently good, interesting, challenging, affordable theatre. CF is now co-run by Kent Nicholson, who is one of the most gifted directors (and coolest people) in the Bay Area theatre scene. Like at Impact Theatre, you *can* drink beer at CF shows-- or at least all the ones I've been to. Quality theatre + beer + affordable ticket (which means + more beer) = good times.
Anna Bella Eema was refreshing, intriguing, riveting. For some reason with plays I often go in a little apprehensive about how I'll like it because there's often one little thing that will be off (i.e. overacting or it's too long)...but this one is a must-see There are only 3 women actors. It's set in a trailer home that's going to be demolished. The creative, natural sound effects, stark stage set and costume and the poetic writing set an eerie and emotional tone. The ending made my eyes tear up. The actors had a wide range of talent. Go see it!
Crowded Fire Rocks! Yes, I am biased. But they still rock.
"Gone" is one of the freshest, surreal works to come from Charles Mee. Crowded Fire has done its typically exceptional job with acting (kudos to Mo Williams - again!) and directing. The set added to the dream like, fragmented whisps of philosophical truth. The 'distraction' of the actors moving around/ drawing/ posting things to the wall, are rather reminescent of how the mind drifts from one thing to another even in times of stress and processing loss. The 'talk back' after the show is a valuable experience - esp. for anyone who insists plays are to be understood rather than experienced and enjoyed.
