September 16 – 18, 23-25. All performances at 8 pm @ The Secret Alley (180 Capp St. #4 San Francisco, CA 94110) San Francisco, CA – THEOFFCENTER, San Francisco’s self proclaimed queer theatre production experiment, is proud to announce its first season of displacement kick off DIY Project and also one of the canonical plays in the English language: Samuel Beckett’s WAITING FOR GODOT.
Collective Theater Productions, under the artistic direction of Wolfgang Wachalovsky has presented us with works throughout the Bay Area including collaborations with the Tannery Arts Project in Santa Cruz. The works by Collective Theatre Productions have been focused on questioning traditional and canonical theatrical texts through various lenses. By collaging texts, by developing movement based on the text and the critical engagement with the text, by viewing the written word as a living collaborator within the process of creating a piece of theatre instead of a hard fast structure to which theatre must adhere, Collective Theatre Productions created intimate offerings that delved deep into another world. Waiting for Godot has been one of the canonical texts in the English language since it premiered in the early 1950’s in London. It has been produced and produced again, becoming one of the most important existential texts to come out of Post WWII Europe. Now, the constraints of this piece placed on it by the Estate of the Author have created conditions that we need to question: only men are allowed to play the roles. And the Estate of the Author has actively shut down productions that stray from the male dominant casting, closing a production recently in Southern California for casting women.
THEOFFCENTER actively queers this piece by casting women and showing how existentialism is a human condition that we all share. Whisper to your friends about Godot. We can’t proclaim loudly that we are making this piece. But you can tell your friends. And share the secret: we are queering everything. Even existentialism. Come to an little known performance venue and share with the waiting and resistance. We are still waiting. . . . Now in an era that excels in waiting, being put on hold, and a malaise towards the future, this new production delves into the world created by Beckett with an approach that hones in on the ongoing resonance of this text in every new generation. With a text so famous and so frequently produced, it is our challenge to make this performance relevant to our zeitgeist.
When: 8pm September 16 Through 25 THUR – FRI – SAT Where: The Secret Alley, 180 Capp St. # 4 @ 16th Street. The task of this production is to discuss how we wait, why we wait and what we are waiting for in this time and place. We are not interested in interpreting the text or assigning unintended meaning to it’s form; however, by genderbending the casting, we question what it means to relegate the existential experience of Waiting for Godot to a male dominated cast as determined by Beckett and his Estate. We have the ability to see how certain structures determine thought and through our lens, we must question the texts that limit how we can apply ourselves. In this production, we liberate the laughter and the absurdity inherent in an existential paradigm as well as fall head first into the silence and the tragedy that dominates the currents in Waiting for Godot. As we experience Godot in a new millennium, many of the questions originally raised are the same but we need to ask new ones that complement the original. With that task at hand, we present you with our discoveries, trials and tribulations; hoping that our production both expresses the endeavors of the playwright while simultaneously encouraging our audiences to embrace their freedom of interpretation. Performed by Craig Piaget, Kelsey Custard, Em Gift, Logan Fox, Costume Design by Nina Harris, Lighting Design by Andrew Darl Packard and Wolfgang Wachalovsky, Interim Stage Manager: Tanya Finkelstein, Dramaturg/Assistant Director: Dori Jacob, Directed by Wolfgang Lancelot Wachalovsky
The form and the chaos remain separate. The latter is not reduced to the former. That is why the form itself becomes a preoccupation, because it exists as a problem separate from the material it accommodates. To find a form that accommodates the mess, that is the task of the artist now. — Samuel Beckett