Pop-Ups I

Pop up Shakespeare­ part 1

Leader: Rebecca Ennals

Date: Monday, Jan.4, 1:00­2:45

Rebecca gave a history of pop up shakespeare AT the SF Shakespeare Festival

Around time of the festival’s 30th anniversary in 2012, the festival decided to take

advantage of the creation of “parklets” in SF (she described a parklet, and where you can

find them in SF)

wouldn’t it be fun to do “Shakespeare in the Parklet”­ so they decided to do 30 plays in 30

days­that year they chose plays from Sf Shakes perf history­they went to a variety of

locations­they obtained no permissions, and in terms of marketing just used facebook

and twitter­they found the mini­performances acquired an audience that followed the

performances to different parklets. They used a variety of performers ranging from

students to union actors­the project ended with a big bonfire performance;celebration.

There were some interesting adventures­times when the audience was confused about

whether it was a performance, for example.

Rebecca showed photos from parklet scenes­the people who began to follow, finding out

that some spaces which appear to be public are actually private, that in the moment stuff

created cool moments (as an example, being late forced the actor playing Romeo to

scream “Juliet” across a park as he ran to make the performancet)the immediacy of

doing Julius Caeser in front of the city capitol building.

There was also the point o connection of putting Falstaff in front of a brewery­a homeless

person threw himself in front of Falstaff, for example.

There was a question­usual length of the playlets? No longer than 10 minutes.

It was good experience for many of the company’s equity actors, because it created more

work when the park show can only use a few union actors.

The Festival did the park lets again in 2013 and 2014­ In 2014 the festival did sorcery as

a theme to match up with Macbeth, the summer park show­also expanded to other cities

that Shakespeare and the Park perform in­there was mixed success with this addition-
The idea of environmental staging has influenced some of the festival’s educational

program staging.

Some of the aesthetic benefits is that the actors learn to take their staging to the

audience­learning to be flexible and make changes in the moment

Maryssa Wanless, who directed some of the park lets, chimed in on how as a director,

you learn to work on moments and beats rather than be concerned about staging, since

the aging may have to change at the last minute.

Question­ were you able to track who was coming to park show because of parklet

performances?

Rebecca­not really, but anecdotally, she felt that it had an effect, and in that first year it

was effective in garnering even more press than the festival usually received.

Question about promotion­Rebecca said mainly casual promotion through facebook and

twitter because a lot of scheduling was on the fly, and some people followed the

performances only on facebook, without coming to see them.

More advanced planning the following year made promotion easier.

Question ­how did you pick scenes?

Rebecca­ The first year, tried to choose scenes more familiar to the audience, that was

useful because of accessibility­last year, and that was more successful than the more

obscure scenes of last summer.

Question ­did you pass the hat? Rebecca­ we’re not allowed to because of equity rules-
instead the festival distributed flyers and postcards.

Question­ Did you perform rain or shine? Yes,but we had no rain­did have cold and foggy

performances ­like the one for King Lear-
Question­ did you inform venue? Rebecca ­definitely talked to restaurants for the goodwill

Question­what other venues did you use beside parklets­ parts of parks, the back of Coit

Tower, Farmers mMarkets (although you need permission for those)

Other issues­ got kicked out of one space because of weapons, you need permits for

public transportation performances.

A project for the intern company in the 2nd year was to create pop ups in Yerba Buena

Gardens.

Rebecca acknowledged Thea Rogers is tweetingfor the STA conference, and Sean

Hagerty helped out with this practicum.

For the practicum­Nine scenes were assigned to groups to create popups­choose a

venue today, rehearse on the fly over the next 2 days and perform wednesday afternoon.

There is little time to rehearse and larger groups so that there is freedom to perform or

not, performance venue choices need to be between Fairmont and Grace Cathedral

Okay to do pop ups in the hotel, during the final performances the whole group will follow

each other from scene to scene, making sure to clarify it is for the STA conference.

The group took the remaining 45 minutes to explore and choose venues from the area,
and do some preliminary rehearsal
Note Taker – Sharon Huff
PROGRAM FOR PERFORMANCE
1. Macbeth – Fairmont Rooftop Garden
Producer – Jennifer Le Blanc
Director – Lesley Currier
Macbeth – Jeffrey Watkins
Lady Macbeth – Christy Burgess
2. As You Like It – Lower Staircase
Producer – Becca Boyden
Director – Jemma Levy
Rosalind –
Celia
3. The Comedy of Errors – Fairmont Front Entrance
Producer – Michael Cavanaugh
Director – Sarah Augusta
Dromio of Syracuse – Edward Daranyi
Antipholous of Syracuse – Jenn Deon
Luciana – Suzanne Dean
Adriana – Lacey Chu
4. The Tempest – Huntington Park Fountain
Producer/Director – Carl Holvick-Thomas
Caliban – Raymond Ontko
Trinculo – Diana Green
Stephano – Chaya Gordon-Bland
5. Measure for Measure – Huntington Park
Producer – Maryssa Wanlass
Director – Laura Cole
Abhorson – Maryssa Wanlass
Provost – Laura Cole
Pompey – Kevin Hammond
Barnardine – Brett Elliott
Duke – Tony Pisculli
6. Romeo and Juliet – Huntington Park Playground
Producer – David Moore
Director/Nurse – Nate Eastman
Romeo – Maddie Sayet
Juliet – Lauren Hansen
7.Richard III – Grace Cathedral Labyrinth
Producer – Sharon Robinson
Director/Pallbearer – Luisa Appolloni
Pallbearer – Kate Fletcher
Richard – Sean Hagerty
Lady Anne – Kate Powers
8. Julius Caesar – Grace Cathedral Steps
Producer/Director/Citizen – Steve Muterspaugh
Brutus – Peter Scribner
Mark Antony – Scott Jackson
Citizens – Tess Burghler, Sharon Ontko, Lisa Tromovitch
Sign interpretation – Luane Haggerty
9. King Lear – Southwest Terrace of Masonic Palace
Producer/Director – Rebecca Kemper
Lear – Clive Worsley
Fool – Kelly Dowling
Kent – Joe Pine
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