Inspired by the supernatural fiction of HP Lovecraft, an early 20th century writer known for creating his own mythos, Unholy Trinity is San Francisco writer/director Stuart Bousel’s adaptation and staging of “The Dunwich Horror,” “Nyarlathotep,” and “The Dreams in the Witch House.”
Celebrate the Halloween Season with these unholy works of classic horror: http://www.theexit.org/unholy-2/
THE 730 REVIEW has Posted its BEST OF THE BEST, POST-FESTIVAL LIST, and 2ELFth NIGHT is Mentioned not Once but 2-WICE!
After a generous 5-STAR review to end KEANE & DOYLE’s first Edinburgh run, THE 730 REVIEW has continued its praise and included 2ELFth NIGHT in its post-festival EDINBURGH FRINGE AWARDS 2019.
Keane & Doyle are chuffed to have been named the COMPANY TO WATCH this year, as well as a nice runner-up BEST OF THE BEST.
Needless to say the duo are encouraged to continue their adventures into festival lands near and far, bringing flailing, confusion, blasphemy, and possible joy to audiences across the universe.
Thank you to THE 730 REVIEW’s Ronan Hatfull and Emily Champion, as well as all this summer’s audiences, in Scotland and in California, who made 2ELFth Night into something real, actually funny, and reliably, fantastically weird!
Keane & Doyle Return from Their Edinburgh Festival Fringe Debut with Feelings, Friends, and Nothing but Four and Five Star Reviews!
Photography by Tristan Fennell
Nothing but 4 and 5 out of 5 Stars!
“The result is chaotic, intense, farcical and joyous. So perfectly do they inhabit and distinguish each specific character, that it is sometimes difficult to believe that there are only two actors onstage. Particular highlights include cross-gender cast examples such as Keane’s frat boy-aping Sebastian and Doyle’s imperious Olivia. I also commend Doyle’s British accents, which are some of the best I’ve ever heard from an American actor, to the extent that I was completely unsure of his native dialect until he thanked the audience at the end of the show.”
“These interpolations and Shakespop mash-ups enhance the production’s irreverent tone and make it one of the most accessible Shakespeare productions at the Fringe.”
“It must also be said that the plot, despite being conveyed by just two actors, is incredibly clear and well conveyed to the audience. There are moments when the comedy is stripped away and Keane & Doyle demonstrate their dramatic chops. For instance, during Keane’s delivery of Viola’s speech in Act 2 Scene 3 which concludes with her reply to Duke Orsino that she is ‘all the daughters of [her] father’s house’, there was a palpable, awestruck silence in the theatre, as Keane delivered the lines with beautiful sincerity and a clear, naturalistic tone. The best productions of Shakespeare’s comedies are those which recognise the need to lean into those serious moments of shade amidst the raucous light and 2Elfth Night is a perfect example of this.”
“I would compel you to catch them at your earliest convenience and look out for their brilliant work. This is a company operating in the true, vaudevillian spirit of Monty Python, the Reduced Shakespeare Company and the National Theatre of Brent and their work presents Shakespeare as the playwright himself would surely have intended: fast, direct, involving and moving.”
The Wee Review — FOUR STARS:
“They change characters seamlessly, using new voices, different mannerisms, and as-slick-as-possible costume changes. However, during all of this absurdity, they still keep to much of the same dialogue as the piece from which the story derives. Thus allowing for both Shakespeare novices, as well as frequent visitors’ of the Globe Theatre in London, to find joy in the production.”
“The play finds a nice balance between interacting with the audience and showcasing the pair’s natural character acting and physical comedy. […] The joy and energy the pair bring to the performance provide the most delight for the audience. They seem to be having genuine fun telling this absurd rendition of a timeless story, whilst also giving it the grace it deserves, and ultimately providing laughter and smiles to everyone lucky enough to attend.”
Binge Fringe — FOUR STARS:
“The interplay and chemistry between Keane and Doyle is tremendously fun; sure, they’re an established duo by this point, having been performing together since January 2017, but strong interactions aren’t necessarily a guarantee at the Fringe.”
“Indeed, each are accomplished actors in their own right, weaving between a wide variety of characters effortlessly while being funny in the process.”
Tweet-Sized Reviews — FOUR STARS:
“12th night by 2 people in an hour, feat. Audience participation, possibly recognisable tunes, several cups of water and of course, stripy yellow socks. Fast paced without losing the sweeter beats of the play, highly entertaining & worth a look!”
What’s the recipe for a tasty Twelfth Night?
Take a pair of clowns
Add various volunteer members of the audience.
Sprinkle with some silly props & costumes.
Let simmer for an hour
Then serve up the perfect Shakespeare comedy.
Gloriously inventive, gentle & funny. What a sweet treat to finish off my Edinburgh Fringe Fest FEAST!
This is just flat out hilarious. If you like Shakespeare's comedies at all, you should see this duo doing all the parts and still making everything work. A very judicious cut, some excellent acting and timing and audience participation.
In a small room with barely 20 members of the audience, the acting duo flying through Twelfth Night at a breakneck pace populated it with a dozen characters, a whirlwind of flasks and wigs, and a charming stage manager. A hilarious show at a surprisingly low price
Delightful edit of the classic play, hilarious throughout and touching at the moments the story should be touching. Both performers showed virtuosity bringing so many different characters to life, and the direct engagement with the audience was warm and brilliantly coordinated. It can be hard editing a long play down to a Fringe-length cut, but this abridgment was expertly and prudently done, keeping all the treasured moments and making the story easy to follow even if one didn't know the play, but richer if one did. Delightful for Shakespeare buffs and novices alike!
This was a really fantastic and fun way to spend our evening, the 2 man cast carry off all the characters incredibly well. Very energetic, exuberant and hilarious. Would thoroughly recommend.
The most fun I’ve ever had watching Twelfth Night. Expertly navigating the small space and the willing audience, Keane and Doyle rocket through characters, impressive verse speaking and hilarious characters, telling the story with wit and flair and a surprising amount of heart. Absolutely unmissable, and a treat for everyone whether they’ve seen the ‘unabridged’ version or not.
A simply wonderful, joyous hour. It takes real skill and talent (and energy) to make an hour of hilarious apparent chaos work, and these two performers have those in bucket-loads, holding everything lightly but tightly together. They take great care of their audience too, even while they’re carrying us along on their rollercoaster ride. I doff my pirate hat to them - they’re brilliant!
Everyone in the audience was beaming with delight within minutes of the show starting. This is perfect Fringe theatre - go see!
Nimble, adroit, heartening, and supremely inviting. The original play is well-rendered, whilst the performers' diligent pains to do so in no way dilute their own quirky verve. A simply lovely show.
Fantastic show - performers who just know instinctively how to use those words to create true comedy without losing their beauty. Hectic and mad and a treat to see. Do go to see it.
Brilliant. Witty. Smart and funny! I absolutely loved every minuet of this Shakespearean classic with a twist. Fantastic comedy duo!
These two performers are top class entertainers and comedians! If you are reading this whatever you do watch this show, you will regret not seeing this hilarious and joyful multi-roling extravaganza! I was in stitches from start to end and that is a very rare thing! Best show of the fringe so far.
Absolutely LOVED! Fantastic performers, best show I have seen at the Fringe this year!
Absolutely fantastic, I thought I was going to disrupt the show from laughing too hard!
These two are seriously hilarious, so much so that at one point our director was reduced to tears. One of the most enjoyable experiences we've had as a company this year at the fringe!
Found this show by chance & was really impressed. The performers are really talented & funny. A quick reminder of the plot/characters in twelfth night would help appreciate the feat of 2 people playing all the major roles with the exception of the ones the audience help out with.
The snug is tiny & gets quite warm but we got fans as part of the participation. Great if you're got kids keen to participate. Amazing value at £5!
Such a delight! A joyful show performed by two talented players, a real gem of a performance ️
An impressive two-performer rendition of Twelfth Night with clever use of costumes and audience participation to fill in the gaps. Yeah, it's heavier on the 'comedy' side of things, but it was more Shakespearean than I expected -- a lot more of the original dialogue survived than you might think. I suspect if I didn't know Twelfth Night so well, I might have struggled a little more to follow it, but it was very entertaining nonetheless.
An outstanding piece. Funny, participatory, heart warming and endearing. I laughed, I got involved, I wanted them to be able to play all the roles. And Jacob the tech stole the show!
Wow! High energy, inventive, fun, and very, very funny! Shakespeare shredded by a clown Cuisineart!
Keane & Doyle have been spies, wizards, witches, and cosmological assassins. Next up, they will be Twelfth Night. Directed by Samantha Rasler. Assistant direction by Alejandro Emmanuel Torres.
This August, for 2 weeks, at THE EDINBURGH FRINGE FESTIVAL 2019! The duo will be performing with PARADISE GREEN at their newest venue, THE SNUG.
Keane & Doyle began when Alan & Deane met during a production of Scott Munson's CHARLEY'S AUNT '66 at the Douglas Morrisson Theater in Hayward, in Jan/Feb 2017.Since then, they have performed together in plays, staged readings, festivals, and other theatrical events.
They will be bringing KEANE AND DOYLE ARE 2ELFTH NIGHT to the Edinburgh Fringe this August.
Finalist, ShortLived VI @ PianoFight, Aug. 2017.
3rd prize, Stony Brook University Science Playwriting Competition, Feb. 2017.
Winner, Plethos Productions' New Years Eve Showdown, Jan. 2019.
Lee Sankowich’s long-time coming FOR HONOR is finally on its feet at the Carol Channing Theatre in San Francisco.
40 years after his initial introduction to this true story, three readings, and many drafts later, Sankowich’s FOR HONOR has gotten its first staged production. Please follow the story further as written up by Patricia Corrigan in J. Weekly.
Adrian Deane performed ‘Miriam’ alongside local favorite, Loui Parnell (as her father, Tata).
HELEN Moves into Its Second Week!
And we have Reviews and Production Photos by Devlin Shand Photography!
Charles Lewis III of The Thinking Man’s Idiot writes, “[W]e follow Helen (played admirably by Adrian Deane, star of two of the best shows that I saw last year) through her routine of killing flies (a nod to Emily Dickinson?), changing her dress, and making herself up in the mirror […].” Dream Girl: ‘Helen’ at Theatre of Yugen
Christine Okon of Theater And Such writes, “As Helen, Adrian Deane navigates moments from selfish obliviousness to the shaky self-doubt that can lead to change.” What Would Helen Do
Rachel Norby of Theatrius writes, “Helen (talented Adrian Deane), the most beautiful woman in the world, has been living in a hotel room in Egypt for 17 years. Like Rapunzel in her tower, Helen is waiting for someone—her husband Menelaus (captivating Steven Flores)—to rescue her.” ‘Helen’ Delves into Illusions of Beauty & War, at Yugen, S.F.
George Powell of For All Events writes, “[…] she deals with her enduring fame, […] At the same time […] feels caught in an information vacuum, unsure the seemingly endless war is actually over and unable to find out any substantive news on TV. […] These emotions are skillfully and convincingly portrayed by Adrian Deane as Helen […].” Thought-Provoking ‘Helen’ Delights Audiences at Theatre of Yugen
Jean Schiffman of San Francisco Examiner writes, “Adrian Deane is a graceful Helen, easily negotiating the play’s comedy as well as its quieter, deeply felt moments.” Theatre of Yugen’s ‘Helen’ Offers Funny, Feminist Perspective
Lily Janiak’s blurb in The SF Chronicle: ‘Helen’
Starting the New Year Strong
Two Readings, Photo Shoot Release, BATCC Nomination, and Helen Press Release'
Darabi Photographi published the latest portrait collaboration with Adrian Deane. See Marisa Darabi’s portfolio at https://darabiphotographi.wordpress.com/.
Anna Ziegler’s Boy - Staged Reading by Town Hall Theater, Lafayette, CA.
February 4th, 2019. Adrian Deane as Jenny.
Wonderful crowd turnout and response left THT encouraged to continue production discussions, and to share the script with fellow local companies for readings and community conversations.
Bridgette Yvonne Loriaux Bauer and Theatre First present Ebb Tides: The Nausicaa Plays, Part 1, by Rob Dario.
Adrian Deane as Euryalea.
And finally, the announcement for the next project: Helen, by Ellen McLaughlin, produced by Theatre of Yugen in San Francisco, and directed by Shannon R. Davis.
Adrian Deane as Helen. Opening Night: March 29th, 2019.
Plethos Productions’ 2018 New Year’s Eve Event was a winner for Alan Coyne’s KEANE & DOYLE ARE SPIES.
Alan Coyne and Adrian Deane reprised their Doyle and Keane alter egos for the evening, and hopped away with the gold crown and prizes for the audience-chosen best comedy scene of the night.
Then they danced into the new year, deep in character….
All images courtesy of Cathy Breslow @breslowimaging.
Winners Pictured Below!
Lily Janiak from the San Francisco Chronicle Zeroes in on Adrian Deane’s Work as Jane Wilde!
"Jane must perform a series of unenviable tasks. She has to maintain a fervent curiosity when her interlocutors seem like they’d be just as content whether she kept talking to them or not, and when they display not a fraction of the interest in her work — medieval Spanish poetry — that she has in theirs. She has to get insecure and defensive about the value of the arts as compared with the value of science. And she has to become the good woman whose love, faith and strength, the play implies, propels a man to greatness.
Yet Deane does exquisite work with these thankless chores, elevating Jane to not just a three-dimensional character, but one of molten complexity. Deane has the power of transforming her expression completely without visibly moving a single facial muscle. It’s as if clouds of rage, hope, gratitude and genuine curiosity keep silently storming through, for an instant inflaming her eyes and flushing her cheeks, then ceding ground to the next passing weather system.”
Victor Cordell from For All Events: ‘A Time for Hawking’.
"But Stephen’s alluring nemesis is Jane, played with stunning authority by a wonderful Adrian Deane. Proper and imperious, she is the immovable object that challenges Stephen’s beliefs. As a Spanish literature student, intellectually strong and undaunted by the scientists, she represents the perspective of the humanities. She asserts her own world view with confidence and questions what Stephen and Jayant accept as the truth and beauty of cosmology."
“While the conversations drive forward the relationships of the three, more importantly, they are used to expound upon a number of the most important theories and theorists of physics. Surprisingly, their talk also touches on the topics of Indian religion and philosophy and Spanish poetry, as well as the concepts of learning, reconciliation of contradiction, and truth.”
Charles Kruger from Theatrestorm: ‘A Time for Hawking’ Presented by Indra’s Net Theater.
"Indra’s Net Theater specializes in plays about science, usually original work, often from the hand of playwright/director Bruce Coughran. They consistently offer some of the best and most intellectually challenging theatre to be found in the Bay Area, and “A Time for Hawking” is no exception."
“Playwright/director Bruce Coughran combines a poet’s gift for language with the insight of a scientist and the instincts of a showman. It is a tremendous trifecta, well displayed in this production.”
Indra's Net Theater presents A TIME FOR HAWKING, a new play written & directed by Bruce Coughran.
December 20, 2018 through January 13, 2019.
THE THINKING MAN’S IDIOT
“[…] Adrian Deane’s enthusiastic, confused, and frightened performance as Maggie, which holds the entire play together.“
"As you’ve probably figured out by now, this show made me cry. This is – after 4.48 Psychosis – the second show I’ve seen in several months that dealt with death in a way that was hauntingly real, despite its stylized presentation. (And both shows star Adrian Deane as the departed.) It’s a show that takes humanity’s long-held questions about death, filters them through the lens of social media, and punctuates it with the occasional pop song. So, by the time Cyndi Lauper’s “Time After Time” is sung by a character in denial of her own grief, I was a mess.”
FOR ALL EVENTS
“Maggie (Adrian Deane) fills the difficult role of spirit who remains ever-present thanks to her still-existing social media presence.“
"'When someone dies,' as several of the characters say toward the end of the piece, 'you don't get over your grief by forgetting—you get over your grief by remembering.' And so it is with Seen/By Everyone: it shows us—in its yugen way [a sense of the ineffably profound in art and nature]—that when memory is all we have of a person, we embrace them still by keeping them in mind."
"If you are looking for answers to the big questions of life and death, you won't find them here. All you will find are more questions. You will be unsettled and unsatisfied, yet if you open yourself up to the underlying emotions being presented in such a mannered and precise form, you may find the experience of Seen/By Everyone compelling."
Five on a Match, creators of the original East Coast premier of SEEN / BY EVERYONE, have teamed up with Theatre of Yugen in San Francisco to infuse into their play, a lived exploration of grief in the age of social media, a physicality and tone of Japanese Kyogen dance and gestures of Shiori kata, ritualistic mourning. The result is an even more stark experience of the humor and pain in mourning across social platforms, of the crassness and the intimacy too.
NOH Space: 2840 Mariposa St., San Francisco (just around he corner from Z Space, and probably other spaces).
$15 valid Student ID,
$45 VIP special seating & complimentary drinks all night.
Industry Night OCTOBER 4th (ask for Promo Code for FREE Industry Tickets)!
Box Office & Information:
(415) 621-0507 | firstname.lastname@example.org | www.theatreofyugen.org/seen-by-everyone/
FIVE ON A MATCH is delighted to announce the West Coast Premiere of SEEN / BY EVERYONE. In the wake of our New York production, we went back to the drawing board and rewrote and reconfigured. In this iteration, Theatre of Yugen's Artistic Director Nick Ishimaru layers in traditional Noh theater movement and gesture to stunning effect. Much has changed, but the core exploration is the same: what does it mean to live, die, grieve, and keep living in the era of over-sharing... email@example.com
Reviews of Anton's Well's 4.48 PSYCHOSIS - Before Upcoming Final Weekend
Original KQED Review by Nicole Gluckstern: Sarah Kane’s '4.48 Psychosis' Finds Empathetic Home at Anton’s Well
"Few plays go so boldly into the misunderstood territory of the troubled mind as 4.48 Psychosis, and Estes and his fearless cast are to be commended. Through their unconventional staging they imbue this difficult piece with moments of real beauty and empathy, drawing the audience to bear witness to a human condition that is so frequently ignored, misinterpreted, or rejected."
Theater and Such Review by Christine Okan: A Dark Night of the Soul
"Anton’s Well Theater Company has brought 4.48 Psychosis to a small studio at Temescal Arts Center in Oakland. Director Robert Estes and choreographer Bridgette Loriaux create a visceral and verbal experience where three brilliant performers (Anastasia Barron, Jody Christian, and Adrian Deane) dance, interact, intertwine, explode, recoil and literally throw themselves against the wall while uttering lines like..."
Daily Cal Review by Kate Tinney: Physical theater in Anton’s Well’s ‘4.48 Psychosis’ adds movement, discomfort to Sarah Kane’s turn-of-the-century elegy
“In a review of a different production of ‘4.48 Psychosis,’ I wrote that the production demanded to be felt. This production, in contrast, expands and complicates that declaration into a question by engaging more directly with audience members, looking them in the eyes and sitting among them. Should it be felt? Should it be looked at, picked apart, reviewed?”
The Thinking Man's Idiot Review by Charles Lewis III: At the Hour of Our Death: ‘4.48 Psychosis’ at Anton’s Well
“It would be easy for a skeptic to call them cowards or someone empathic to say they need help, but neither of those answers would account for someone in the hospital wishing to end their life after a long battle with a terminal illness. [...] Yet a piece like 4.48 Psychosis is the rare piece that looks at the situation from the point-of-view of someone who sadly went through with it. [...] Rob Estes and his collaborators wisely interpret the work in a way worthy of an artist, such as the one who wrote it. By doing so, they’ve created one of the best shows I’ve seen this year."
MY LOVE, MY LOVE
"I'm dying for one who doesn't care.
I'm dying for one who doesn't know."
The form of formal thought won't dare
To visit this fragmented show.
In the softness of my sight
All powers born for me and mine
Snatch at night for broken rights
And hold to hope on dotted lines.
And I will walk them, counting cures,
And I might live to see love's whites,
And I will shake from all of yours,
Through luna days and mona lights.
But count to four and count some more,
Lose the pictured Juliet.
And "watch me vanish" well before
"My love" I knew but never met.
4.48 PSYCHOSIS opened to two sold out crowds and a rich variety of feedback (and the production team welcomed all of it).
Opening weekend audience member:
"[...] there were certain lines and moments about relationships and love (or the lack of) that really spoke to me. Above all else, I admire the strength (both physical and mental) that was carried throughout the performance. [...] The emotions portrayed by all of the characters pulled the audience in, as if we’re witnessing their demise right in front of our eyes." (A. Cheung)
Please join us Friday July 27th through Sunday July 29th, or Thursday August 2nd through Sunday August 5th (8pm or Sun. 7pm).
Tickets and Info.: www.AntonsWell.com
Anton's Well Theater in Berkeley is braving a three-women interpretation of Sarah Kane's last play, 4.48 PSYCHOSIS, featuring choreography by returning company member Bridgette Loriaux.
Anton’s Well Theater Company
Psychosis 4.48 by Sarah Kane
Directed by Robert Estes
Choreographed by Bridgette Loriaux
Featuring: Jody Christian, Adrian Deane, & Anastasia Barron
Opening Friday, 7.20.2018 @ Temescal Arts Center in Berkeley, CA
I’m hunting for a house to fill my rooms with jewels and memories, a product proof of thorough life through sturdiness of centuries.
And so I met a new group tucked inside a brand new set of walls, and too soon I began to fall and came to call them hope.
I crashed against their floors and threw wide open all their locked up doors and broke in two their decorations with my loving roar.
I knew they'd meet my passion in the carving of our names, all as one, in every corner, fought and won. They’d feel the same.
So, I gave an inch of mind on the cemetery line that was drawn out by a woman we all came apart to know.
And I’ve often been inclined toward the silent, strong, and kind, but in speaking sometimes find I’ve been given leave to go.
Yes, in speaking sometimes see that a box is made for me in this house I’d meant to be my sanctuary. But no.
I’m looking for a perfect house, affordable and small, one with bed and bath and spouse or any ghost of love at all.
I’m looking for familiars in echoes of my former years, for perfect is that broken chair, those cowboy doors, that creaky stair,
And every room of strangers bares my burden-need, uncovers wares and windows they cannot repair and I barely recall.
AUGUST 2018 UPDATE: LINK TO FULL SHOW RUN: https://youtu.be/HuLS2xwG5Q0
Theatre of Yugen brings back A Noh Christmas Carol through December 24th.
ADRIAN DEANE is the three Spirits, played in three traditional styles of Kyogen, Kabuki, and Noh.
Something in Noh Seasons
There is something in the Spring that sets the sugar softly free.
There is something singing sweetness through the pink and cherry trees
Every note is moving colors, every gesture gains a world;
In the language of our story, every syllable unfurls.
There is something in the Summer, lounging loosely in the sun.
Do not speak to him of time; 50 minutes stretched and spun.
And above the hour struck by spirits harkening a doom,
Still each second must make mountains of each meaning they consume.
There is something in the Fall and she will never be ignored.
In the victories of former seasons, now withdrawal restores.
And all the moments rushed on past are lost and feeling real.
Stages set in boxes work to shed light, force reveal.
There is something in the Winter that excuses things of love
That have hitherto belonged to sentimental-psycho doves.
And if her want succeeds and joins community, one room,
Know the work has just begun as love is seasonless in bloom.
UPDATE: Angel Street (Gaslight) Nominated for a TBA Award!
See all the links to Bay Area reviews and praise:
"As Mrs. M., Adrian Deane is a revelation of realistic portrayal. Her maddened state is a painfully truthful representation of a mind under siege, never trusting itself, and completely controlled by a stronger will."
"Adrian Deane radiates fearful anxiety under meek reserve as Bella Manningham."
"Adrian Deane captures both Mrs. Manningham’s fragility and strength in a stirring performance."
OCTOBER 20 - NOVEMBER 5, 2017
Adrian Deane (Mrs. Bella Manningham): "Without the sinister husband, or the extensive tea set, I am Bella, a woman who wants to be loved and be known, who is learning all the ways those two wants can get tangled up. Gaslight was introduced to me early on as one of a genre of films that presents a woman who is unknown both to her partner, whose love for her is more important than herself, and also therefore to herself. Bella's desire to be loved, or rather, her fear of losing love, threatens to blind her from everything she knows is true, about herself even. And although I'm not fighting for my life with a disarmingly charming detective in a shady Victorian house, I am on the same journey as Bella: of discovering the courage to declare and know myself. Whiskey may assist."
Adrian Deane (Mrs. Manningham) is mad with love for Role Players and the opportunity to help finish building Bella's Angel Street home with Alan, Dorian, Jeanette, and Jess. She is grateful to these cast mates for encouraging her to light up the stage with them, and to her director, Chloe, for knowing how to encourage just a little more darkness. Wildest thanks are for her parents for indoctrinating her into literature of unknown women, for her sister, Alex, for the best education on true love's crazy, and for Maggie the cat for teaching her that a little cuckoo gets a lot of scratches and a lot of scratches can raise a little cuckoo.
She knows not what she knows she knows but thinking makes it so.
She strives to speak the language of her Love: the honest show.
Her words once learned and counted in first measured audio
Do tell the tale of choose-your-own but still find: Friend or Foe.
She knows not what she knows she knows but speaking makes it so.
Yet give her just one echo of her tone from cast tableau,
Found free in bouncy beaux and cheery chat of social throws,
And suddenly she hears her voice translate into shadow.
She knows not what she knows she knows but sharing makes it so.
Alone can hold the hearing truth for just so long below—
But second her and overrule insanity’s plateau.
Reiterate her, justify, Her Other Auto-Bio.
She knows not what she knows without her solitude in tow.
To meet the world with words is to be met right back with woe.
What game is this long lesson of whose lingua lasts and grows?
Her thought-idiolect won’t hold alone the love she knows.
Full Reading-Performance Now Available Online: https://www.youtube.com/watch?v=1Rdj23guQbU
BASTET by Alan Coyne
Directed by Alejandro Torres
Staged Reading on October 5, 2017 at the EXIT Theatre
Adrian Deane (Mata Hari)
Vince Faso (The Man)
Ashley Gennarelli (The Narrator)
Breach Once More presents
It Stays Between Us by Sarah Kronish
My heart is full. Thank you Adrian Deane, Alan Coyne, and Samantha Raslerfor bringing my story alive. I hold an abundance of gratitude for your talented, thoughtful, and collaborative spirits! Thank you, Steve Bologna and the Breach Once More team for giving me a platform. Thank you to all who came out to support, offer your thoughtful feedback, and share this experience.
San Francisco's Short-Lived 2017 Competition begins (pre-'Keane & Doyle are Spies'):
Selfies, short-cuts, suicide?
Will you marry me?
Contractor for current times,
Contact improv too,
"Will you join us," Short-Lived cried!
The winner's up to YOU!
Tonight, she is winged, she is diapered, haloed, jaded.
Tonight, she is widow child, daughter, sister sated.
Tonight, she is short, but oh the lives that waited
Until tonight, too nigh the plight 'for she is liberated.
"Keane and Doyle are Spies" (by Alan Coyne) has made it to the finals on August 3rd-5th at PianoFight in San Francisco! Come at 7pm on any/all days to watch the top 8 short plays of all 6 rounds compete for the $5,000 Zendesk prize! (And vote for Keane and Doyle, of course.)
Okie dokie, here's the trick:
This journey's juggled just a lick
Too much of greatness, grandest fun
To hold the number to 6 who've won.
So 8 they are, and Thor will see...
The dozen bakers, batched baby,
The pointed peaks and giant bees,
The magic turned at bus stops, please!
The quested games from human need,
The needed dancing, sexy freed!
And spies that in their own world breathe
Will fight for life, short but ivory!
ShortLived is the nation's largest, audience-judged theater competition, PianoFight's ShortLived, returns with 36 short plays, all scored by the audience, and $5,000 on the line for the winning team.
DETAILS HERE: https://www.facebook.com/events/1603912002952947/