The Recession Operas

In the Spring of 1992 Randall Stuart was invited back to his alma mater - the Advanced Training Program at A.C.T. in San Francisco - with a particular objective to the assignment: to 'unite' the graduating class of the A.T.P. after what had been a tremulous year (including an earthquake and a national recession.) 

So "How does a man survive?" as Brecht & Weill pose in their Threepenny....

The result was an epic-sized project, Mr. Stuart's cross-pollinated staging of John Gay's The Beggar's Opera and Brecht & Weill's The Threepenny Opera - in a large-scale promenade production with two intermissions. It performed during the week of the Rodney King Trial verdict and the resulting San Francisco riots, and became an acclaimed project with staff and audience alike.

Students:

"Tremendous vision. Randall possesses clarity and purpose; his faith sustained and nourished us." 

"Positive, clear and amusing, communicates with clarity, was always open to our suggestions, and always said Yes...made us feel safe to risk and try new things...carried us along with him on a crazy, wild, creative ride. His type of theatre has a purpose."

"One of the greatest experiences of my time at the Conservatory. His belief in and commitment to the Theatre is inspiring; showed us that we are capable of a transcendent theatrical experience. A brilliant teacher and artist."

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Springtime, 1992: It's time for an opera about our nation's recession and the desperate measures of its people: and all on a production schedule of three weeks and a budget of three pennies. If Macheath can transform a barn into a nuptial parlor, than all we need is an empty space. This very theatre, the Geary Street Playroom, is where I cut my artistic teeth in the 1970's as a student actor. I'm certain that it was here that I took my biggest risks. Now a glad turn of events has led me back to this room almost twenty years later, and I am grateful to Artistic Director Ed Hastings and the staff of A.C.T.'s Advanced Training Program for the invitation. The Conservatory is just where I long to be; full circle, giving back what I had received within these hallowed halls. All-the-better that my "charge" is a grand set of operas: bold, brash and beautiful. We had three weeks to make it all happen and that was thoroughly invigorating. I'm certain I'll look back on this project as a professional watershed, for every moment has been full of discovery.

I could not have asked for a more energetic and inspiring cast. Our research as an ensemble led us to a key ingredient: stock market crashes circa 1720, 1930 and 1990 = the very times in history we were to explore and endow. Brecht's Epic form of theatre (as exampled in this, his bawdy killer opera) might now reach across time and wrestle with the dramatic form of John Gay's breakthrough tale of personal corruption. The history of Hanoverian England and the emergence of the Reich in Germany, sitting at table together, devouring hungrily. And finally, the chance to hold a mirror up to today's recession, the disenfranchisement and demoralization of the so-called "Reagan/Thatcher Revolution" - which, in fact, led to last weeks rioting. It's no secret that these fine graduate students have had a challenging year. Changes abound and they now walk into the possible snares of the theatre business; and so when I hear them sing a rousing "What Keeps A Man Alive?" and the windows in this theatre shudder with the power of their many voices, then yes, it is epic, Mr. Brecht! When they march out on their own to the street, I hope you will guide them into revolutionary artistic approaches, Bertolt. For we are in an epic survival in the spring of 1992.

Begging your patience: at three hours, we hope our production gallops. In our Act One, expect the two companies of actors to meet in the empty space (tribes from different eras) to share their identical story with one another. In our Act Two, plots are spliced…and spicey. In our Act Three, a certain chaos (according to plan) ensues. At intermissions, please watch your personal effects for there are thieves everywhere. In fact, don't even count on your seat, or the stage for that matter, being in the same place after each interval.

Hindsight after a Decade, 2002:

I will not soon forget the feeling of forboding upon hearing news of the Rodney King verdict and the resulting Los Angeles riots midday, and by late afternoon rehearsal, sensing the local demonstrator's commotion on the streets outside the Geary Street Playroom in San Francisco as well; demonstration leading to looting chaos amongst the disenfranchised masses within the dodgy Tenderloin district where were doing our art. It was then that the marvelously edgy actor Andrew insisted that the thing to do was bring our rehearsal to the streets - sing Brecht's angry prayer into the heart of the authentic people, the real Peachums and Filches. The vote to do so was tabled, consensus never reached, as media advisories were posted for all citizens to get home by sundown. The cast scattered, as if pursued by Tiger Brown. (Andrew said he wasn't moving, and I think he may have squatted there at the theatre all night; a mad & sated look in his sleepy eyes the following day.) When we returned to the task of the play the next day, Mr. Brecht's words opened the proceedings: "I was drawn to you. I'm also drawn to circuses. I sing ballads and chain-smoke in this cafe. My troupe follows, exuberant from their visit to the City of Snares."

- Randall Stuart