Written as a character study.
Character: Melissa Anne Crawley
Play: Standing Above Pajaro
MELISSA ANNE CRAWLEY is facing the audience behind a table where she’s being interviewed by the Watsonville Sheriff about the disappearance of her son, BOBBY JR.
MELISSA
Where do you want me to start? Okay. From the beginning. Okay. My name is Melissa Anne Crawley. I was born… truthfully, I don’t really know. My parents, well the ones that found me, think I’m 40. They picked my birthday on May 20th, 1890. Why are you looking at me like that? My eyes. Yes, they are really that blue. I know that everything else about me looks like I’m Mexican, but as far as I know I’m from here in Watsonville, not Mexico. The only time I left this city was when my late husband, Robert, returned from the war in the Philippines to the old Ord Barracks, down in Monterey. We stayed there until my parents passed, and that’s when we moved back to work in their store. The same one I run now with my son, Bobby Jr. Anyways, when Robert returned from war, he wasn’t the same person I married. He didn’t have such a bad temper before he left. I guess that’s what war does to a person. Let’s just say that I quickly learned how not to say anything back or question anything he said. Anyways, he passed on a few years back. Like father like son, Bobby got the same temper and quick-draw reflexes. We tried to make the best of it running the store. But Bobby was always out with his friends though. Teenagers. But that was good. I got to sing out loud. Something that I never got to do when Robert was alive, or when Bobby was around. They said I had a terrible voice and was tone-deaf. But in those moments alone, either singing to myself, or making up stories, I felt alive. I also got to read the old books that my parents had. I didn’t get to go to school so I could help out with the store, but they taught me how to read and write. They probably knew that I’d take over the store for them. But this was something I kept from my husband and son. That I knew how to read and write… well, I made them think that I just knew the basics. I needed to keep some things for me, I suppose. But I wasn’t stupid. No matter, how much they told me that. I wasn’t. I had a family and responsibilities. I didn’t have a need for fancy clothes or anything. And I would keep my hair in a bun, just like this. Robert thought that it was improper to let my hair down. Even when Robert had already passed, Bobby caught me with my hair down and he scolded me for it. He said that’s the way those girls at that Filipino Club down in Palm Beach had their hair when they danced with those Goo-goos, that’s what Bobby called them, those Filipino workers and they would drive them crazy. He said that it wasn’t enough that they were taking away the real American’s jobs, but they were taking their women too. I didn’t know what to believe, but he’s my son and I have to believe that he was right, right? I just wished that sometimes he would…. The night of the 30th? I was at home. Above the store. I heard a lot of commotion going on outside. I knew from the last couple of days that the whole town of Watsonville was after those Filipino field workers. Bobby would tell me some of the things they would do to them. I knew it was wrong, but… I just stayed home and let things play out. Can I ask you something? Is it true that a Filipino was killed at the Murphy Ranch? Oh. What was his name? Oh my. No. I didn’t know Fermin Tobera. Oh. Excuse me. I was just thinking about Bobby. No. No, I don’t know where he is. Do you think he had something to do with this killing? Of course. Still under investigation. Please let me know if you find my son. Can I go now?
Monday, April 27, 2009
Sunday, April 12, 2009
Ostara's Rave
Here's a link to another script I wrote for Bindlestiff Studio's production of Good Friday: Carpool to Hell. It's called Ostara's Rave. Even though this didn't get produced, I'm really happy to have it staged in a workshop. Plus, I got pretty good reaction to it from the cast.
The biggest lesson I learned was the ability to form a story from doing research on the origins of Easter. I wrote this in total of about 3 hours. 2 hours of research and notes and another hour of writing. When I get time, hopefully I'll do a proper re-write.
Enjoy :)
http://www.uptil3.com/scripts/Ostara's Rave.pdf
The biggest lesson I learned was the ability to form a story from doing research on the origins of Easter. I wrote this in total of about 3 hours. 2 hours of research and notes and another hour of writing. When I get time, hopefully I'll do a proper re-write.
Enjoy :)
http://www.uptil3.com/scripts/Ostara's Rave.pdf
Call of Duty: God's Army
CALL OF DUTY: GOD’S ARMY
v.2 3/25/09
Produced by Bindlestiff Studios
Good Friday: Carpool to Hell
April 9-11, 2009
Thick House, San Francisco, CA
Original Cast:
Lola - Sarita Ocon
Grandchild - 4/9-10, Kat Evasco & 4/11, Joe Cascasan
Directed by Judith Ferrer
CALL OF DUTY: GOD’S ARMY
by conrad panganiban
directed by Judith Ferrer
Characters:
Lola – Older. Catholic.
Grandchild – the grandchild of Lola
INT.BEDROOM.NIGHT
Lights fade up to dim as GRANDCHILD is holding the Wii video game controllers and playing a game. Two people are both DSL&R facing the audience. They are the human sound effects.
LOLA's voice is heard off-stage.
LOLA
What's all this noise?
Lights up as LOLA enters GRANDCHILD's bedroom.
LOLA
Hoy! Why are you not sleeping yet? You have to wake up early for Easter Mass.
GRANDCHILD
Lola. Just a few more minutes. I'm almost done.
LOLA
You go to sleep now!
GRANDCHILD
Almost done.
LOLA
Is that a rosary on the screen?
GRANDCHILD
Yes, Lola. It's a new game called CALL OF DUTY: GOD's ARMY.
GRANDCHILD is making the sign of the cross with the controller.
LOLA
Now what are you doing?
GRANDCHILD
I'm converting the Pagans.
LOLA
Oh... Who is that running at you? They look mad.
GRANDCHILD
Wait. You're distracting me.
LOLA
Are they throwing rocks at you?
GRANDCHILD
Switching to the Cross.
GRANDCHILD makes the motion like she/he is hitting the rocks like a tennis racket from Wii Sports.
LOLA
Ay! Move that way! No the other way! Watch out over there! Ay-ya!
GRANDCHILD
Lola! Look what you made me do! I died!
LOLA
Well, if you moved that way, you're not going to die.
GRANDCHILD
You think you can do better.
GRANDCHILD and LOLA pause and stare at each other.
LOLA
Give me.
GRANDCHILD gives the controls to LOLA.
GRANDCHILD
Press the A button.
LOLA
Which one is A.
GRANDCHILD
The one on top.
LOLA
Now how do you move?
GRANDCHILD
With the other controller. With your thumb.
LOLA
Like this?
GRANDCHILD
There you go. Now go over to those people.
LOLA
They look like from a Pilipino Village. They look nice.
GRANDCHILD
Nah. That's fear. Okay, now convert them with the sign of the cross.
LOLA makes the sign of the cross with the controller.
LOLA
Bless you. Bless you. Amen. Bless you. This is easy. Oh oh, here comes the pagans again.
GRANDCHILD
Press the B button. It's the trigger. Good. That's the cross weapon. Now, hit back the rocks!
LOLA hits the rocks away like she's playing Wii Tennis.
LOLA
I'm pretending it's a slipper. Hayop! Take that! Who are those other people coming that way?
GRANDCHILD
They're called the Mayans.
LOLA
How do I convert them?
GRANDCHILD
You can't. You have to kill them.
LOLA
What?
GRANDCHILD
Switch to the Holy Water weapon! Now, sprinkle the water on them.
LOLA makes the motion of sprinkling the holy water on them.
GRANDCHILD
See. They're melting!
LOLA
What's that hopping around?
GRANDCHILD
Easter bunnies! Switch to Holy Smoke!
LOLA makes the motion of making the holy smoke... smoke.
LOLA
They're falling asleep. Now what do I do?
GRANDCHILD
You have to stab them.
LOLA
But that's some more killing.
GRANDCHILD
It's okay Lola. It's all in the name of the Father.
LOLA
Oh, okay.
GRANDCHILD
Switch to the knife and start stabbing them!
LOLA starts stabbing the controller down. Victory music is heard from sound effect people.
GRANDCHILD
You did it Lola! You converted the world and killed all the Heathens!
LOLA
That was fun. I'm glad that it's ONLY a video game.
LOLA and GRANDCHILD face at the audience with the look of knowing that it really isn't just a video game.
LOLA
Wait a minute? Who are they?
HOUSE LIGHTS are turned on.
GRANDCHILD
It’s Bindlestiff’s Good Friday Audience.
LOLA
Oh my.
GRANDCHILD
Convert them Lola! Yeah!
LOLA goes back to playing the game and starts to make the motions to the members of the audience.
END
v.2 3/25/09
Produced by Bindlestiff Studios
Good Friday: Carpool to Hell
April 9-11, 2009
Thick House, San Francisco, CA
Original Cast:
Lola - Sarita Ocon
Grandchild - 4/9-10, Kat Evasco & 4/11, Joe Cascasan
Directed by Judith Ferrer
CALL OF DUTY: GOD’S ARMY
by conrad panganiban
directed by Judith Ferrer
Characters:
Lola – Older. Catholic.
Grandchild – the grandchild of Lola
INT.BEDROOM.NIGHT
Lights fade up to dim as GRANDCHILD is holding the Wii video game controllers and playing a game. Two people are both DSL&R facing the audience. They are the human sound effects.
LOLA's voice is heard off-stage.
LOLA
What's all this noise?
Lights up as LOLA enters GRANDCHILD's bedroom.
LOLA
Hoy! Why are you not sleeping yet? You have to wake up early for Easter Mass.
GRANDCHILD
Lola. Just a few more minutes. I'm almost done.
LOLA
You go to sleep now!
GRANDCHILD
Almost done.
LOLA
Is that a rosary on the screen?
GRANDCHILD
Yes, Lola. It's a new game called CALL OF DUTY: GOD's ARMY.
GRANDCHILD is making the sign of the cross with the controller.
LOLA
Now what are you doing?
GRANDCHILD
I'm converting the Pagans.
LOLA
Oh... Who is that running at you? They look mad.
GRANDCHILD
Wait. You're distracting me.
LOLA
Are they throwing rocks at you?
GRANDCHILD
Switching to the Cross.
GRANDCHILD makes the motion like she/he is hitting the rocks like a tennis racket from Wii Sports.
LOLA
Ay! Move that way! No the other way! Watch out over there! Ay-ya!
GRANDCHILD
Lola! Look what you made me do! I died!
LOLA
Well, if you moved that way, you're not going to die.
GRANDCHILD
You think you can do better.
GRANDCHILD and LOLA pause and stare at each other.
LOLA
Give me.
GRANDCHILD gives the controls to LOLA.
GRANDCHILD
Press the A button.
LOLA
Which one is A.
GRANDCHILD
The one on top.
LOLA
Now how do you move?
GRANDCHILD
With the other controller. With your thumb.
LOLA
Like this?
GRANDCHILD
There you go. Now go over to those people.
LOLA
They look like from a Pilipino Village. They look nice.
GRANDCHILD
Nah. That's fear. Okay, now convert them with the sign of the cross.
LOLA makes the sign of the cross with the controller.
LOLA
Bless you. Bless you. Amen. Bless you. This is easy. Oh oh, here comes the pagans again.
GRANDCHILD
Press the B button. It's the trigger. Good. That's the cross weapon. Now, hit back the rocks!
LOLA hits the rocks away like she's playing Wii Tennis.
LOLA
I'm pretending it's a slipper. Hayop! Take that! Who are those other people coming that way?
GRANDCHILD
They're called the Mayans.
LOLA
How do I convert them?
GRANDCHILD
You can't. You have to kill them.
LOLA
What?
GRANDCHILD
Switch to the Holy Water weapon! Now, sprinkle the water on them.
LOLA makes the motion of sprinkling the holy water on them.
GRANDCHILD
See. They're melting!
LOLA
What's that hopping around?
GRANDCHILD
Easter bunnies! Switch to Holy Smoke!
LOLA makes the motion of making the holy smoke... smoke.
LOLA
They're falling asleep. Now what do I do?
GRANDCHILD
You have to stab them.
LOLA
But that's some more killing.
GRANDCHILD
It's okay Lola. It's all in the name of the Father.
LOLA
Oh, okay.
GRANDCHILD
Switch to the knife and start stabbing them!
LOLA starts stabbing the controller down. Victory music is heard from sound effect people.
GRANDCHILD
You did it Lola! You converted the world and killed all the Heathens!
LOLA
That was fun. I'm glad that it's ONLY a video game.
LOLA and GRANDCHILD face at the audience with the look of knowing that it really isn't just a video game.
LOLA
Wait a minute? Who are they?
HOUSE LIGHTS are turned on.
GRANDCHILD
It’s Bindlestiff’s Good Friday Audience.
LOLA
Oh my.
GRANDCHILD
Convert them Lola! Yeah!
LOLA goes back to playing the game and starts to make the motions to the members of the audience.
END
Obama's Press Conference
Just a couple of new scripts that I've written for Bindlestiff Studio's sketch comedy show
Good Friday: Carpool to Hell
April 9-11, 2009
Thick House, San Francisco, CA
OBAMA PRESS CONFERNECE
by conrad panganiban
v1 03/30/2009
Original Cast
Obama - Franz Jundis
Trent – Dianne Chui
Rosary Sox – Terry Alabata
Jejomar – Jocelyne Ampon
directed by Judith Ferrer
Characters:
Obama
Trent – reporter, Fox News
Rosary Sox – reporter, ChristianScienceMonitor.com
Jejomar – Union City Pic-and-Save
INT. PRESSROOM. DAY
PRES. OBAMA is center stage standing on chair. A row of reporters are facing the audience asking questions.
OBAMA
I want to thank you all for coming to this Easter Press Conference. For all the Christians viewing this. Happy Easter. To everyone else. Yes We Can. Now, I’ll start with some questions.
PRESS CORP raise their hands.
OBAMA
You. Trent McBlue.
TRENT
Trent McBlue, Fox News. How do you respond to the recent Harris Poll saying that you rank as the number one hero in America above Jesus Christ.
OBAMA
Look… I uhh… I’ve said all along… while I was campaigning… that I should not be compared to uh… Jesus Christ. I am Barack Obama. Not Jesus Christ. Obama. Barack Obama.
PRESS CORP raise their hands.
OBAMA
You. Rosary Sox McHanus.
ROSARY SOX
Rosary Sox McHanus, ChristianScienceMonitor .com, President Obama. What would you like to say to the people who voted for you on how you should deal with the CEO’s on Wall Street?
OBAMA
Well, I say to them… that uh… Change has come to America, so that means that… uh… these unscrupulous CEO’s won’t get the same treatment as before. But, I’ll do what I can to save people’s jobs.
ROSARY SOX
So then, you are willing to be their Savior?
OBAMA
Again. Look… I’m not a Savior. But the people who have abused their corporate responsibilities will be dealt with.
TRENT
Are you saying that your Father will put the plague on their houses?
OBAMA
My father? Look… I don’t know how to say this any other way, but I’m not Jesus. Now, let’s get to more serious issues…
PRESS CORP raise their hands.
OBAMA
You. Jejomar Franks. I hope this is a serious question for these serious times... which I will respond with a serious answer.
JEJOMAR
Yes, Mr. President. Jejomar Franks, Union City Pic-and-Save. What are your goals for your upcoming trip to the Middle East?
OBAMA
I will uh… tell them that uh… the American people want peace in their region.
JEJOMAR
So you’d be like the Prince of Peace… Like Jesus.
OBAMA
Look… uh… look. I just said I want to be able to organize a peaceful solution.
ROSARY SOX
Jesus was a community organizer too. He got 12 people to follow him, but you got a whole nation to follow you. It’s like you are the Messiah.
OBAMA
Look. I am not the Messiah. I am not Jesus. I am not Sam I Am. I am who I am. And that’s all that I am!
TRENT
Amen!
ROSARY SOX
Halleluia!
JEJOMAR
Popeye?
OBAMA
I give up! I Bless You and the United States of America. Good Night.
END
Good Friday: Carpool to Hell
April 9-11, 2009
Thick House, San Francisco, CA
OBAMA PRESS CONFERNECE
by conrad panganiban
v1 03/30/2009
Original Cast
Obama - Franz Jundis
Trent – Dianne Chui
Rosary Sox – Terry Alabata
Jejomar – Jocelyne Ampon
directed by Judith Ferrer
Characters:
Obama
Trent – reporter, Fox News
Rosary Sox – reporter, ChristianScienceMonitor.com
Jejomar – Union City Pic-and-Save
INT. PRESSROOM. DAY
PRES. OBAMA is center stage standing on chair. A row of reporters are facing the audience asking questions.
OBAMA
I want to thank you all for coming to this Easter Press Conference. For all the Christians viewing this. Happy Easter. To everyone else. Yes We Can. Now, I’ll start with some questions.
PRESS CORP raise their hands.
OBAMA
You. Trent McBlue.
TRENT
Trent McBlue, Fox News. How do you respond to the recent Harris Poll saying that you rank as the number one hero in America above Jesus Christ.
OBAMA
Look… I uhh… I’ve said all along… while I was campaigning… that I should not be compared to uh… Jesus Christ. I am Barack Obama. Not Jesus Christ. Obama. Barack Obama.
PRESS CORP raise their hands.
OBAMA
You. Rosary Sox McHanus.
ROSARY SOX
Rosary Sox McHanus, ChristianScienceMonitor .com, President Obama. What would you like to say to the people who voted for you on how you should deal with the CEO’s on Wall Street?
OBAMA
Well, I say to them… that uh… Change has come to America, so that means that… uh… these unscrupulous CEO’s won’t get the same treatment as before. But, I’ll do what I can to save people’s jobs.
ROSARY SOX
So then, you are willing to be their Savior?
OBAMA
Again. Look… I’m not a Savior. But the people who have abused their corporate responsibilities will be dealt with.
TRENT
Are you saying that your Father will put the plague on their houses?
OBAMA
My father? Look… I don’t know how to say this any other way, but I’m not Jesus. Now, let’s get to more serious issues…
PRESS CORP raise their hands.
OBAMA
You. Jejomar Franks. I hope this is a serious question for these serious times... which I will respond with a serious answer.
JEJOMAR
Yes, Mr. President. Jejomar Franks, Union City Pic-and-Save. What are your goals for your upcoming trip to the Middle East?
OBAMA
I will uh… tell them that uh… the American people want peace in their region.
JEJOMAR
So you’d be like the Prince of Peace… Like Jesus.
OBAMA
Look… uh… look. I just said I want to be able to organize a peaceful solution.
ROSARY SOX
Jesus was a community organizer too. He got 12 people to follow him, but you got a whole nation to follow you. It’s like you are the Messiah.
OBAMA
Look. I am not the Messiah. I am not Jesus. I am not Sam I Am. I am who I am. And that’s all that I am!
TRENT
Amen!
ROSARY SOX
Halleluia!
JEJOMAR
Popeye?
OBAMA
I give up! I Bless You and the United States of America. Good Night.
END
Monday, August 18, 2008
The Gift - the script
Now that the play is wrapped up, here is the script. Just to cover my butt, even I don't really see why, I've copyrighted it. I'm ALWAYS open to critiques so please Lemme have it. I'm the most critical of my own work, so please be as hard as you want, but I ask that your comments be CONSTRUCTIVE! That's the only way both of us can learn :)
Thanks!
http://www.uptil3.com/theGift.pdf
Thanks!
http://www.uptil3.com/theGift.pdf
And that's a wrap!
Well, my play, The Gift, directed by Nicole Maxali and starring, Aaron Niles, Jocelyne Ampon, and Sarita Orcon closed last night. THANK YOU for breathing life into the characters that came to me at 3am on the morning of June 16, 2008! Special thanks to Ed Mabasa for the coolest tech effect to bring a blast to the ending!
Here's some notes from my observations about Stories High 10 from this playwright's POV:
- Of course, I learned this after the fact but don't use one-liners for effect. I tried to come up with a couple of one-hit one liners that seemed so disjointed from the flow of the script. boo. i have to do better than that.
- Create the "Awwweee" character. From John Raposas's character in his play, One Year, he's crafted a character that made the audience pull for him. Make the audience say "Aweee" by playing the sympathy card. A lesson John taught me from a critique session we had. From the time of the first Awe, that's when you HOOK the audience.
- Create the lyrical play. My personal FAVORITE play is Last Verse written by Ed Mabasa. Honestly, it took me a couple of times to watch it to really understand it and to realize just how beautiful it is. I know a lot of people still wonder what it's about, as did I, but what I took from it was a love story that had the protagonist, played by the awesome Dennis Rodis, ask how do people fall so in love? what causes this? True this is written from an 18th century vampire dark standpoint, but that's what made it appealing to me. I also said lyrical because some of the lines are truly poetic.
- Comedy. My next couple of scripts are going to be comedies. Comedy and laughter is what sells the audience! Honestly, that's what roped me initially into being a playwright - hearing the laughter of the audience. Holy shit?! I wrote something that made strangers laugh? In my growth, my focus has been taken away from that, but after getting that infectious feeling of happiness from Ava Tong's Non Quite Unrequited, One Year, and Non-Sequiturs by Cathlin Goulding, I can't wait to create that joy again.
- The Love Story. One Year and Josef Anolin's Choices explored the relationship genre. I've kinda taken that out of my repertoire after writing Garden of Dreams, but I totally plan to go back to it to explore Love and the complications thereof soon. Unfortunately, I really haven't been in that mood to do so. Kind of when trying to write a Christmas play in June. Not the same feeling. Gets? But it was nice to see.
- The political play. Out of all the plays, Nomi's Brothers and Sisters took me the most to get used to. Honestly, it took me a while to warm up to it mostly because I felt that the message beat me over the head with what it wanted to say. But that's talking from the (ick) analytical pov of the structure of playwriting. HOWEVER, it's a very very worthwhile play to create and is needed! There are bad things happening in the Philippines regarding US/Philippine relations, political and economic, that needs to be addressed and it's great to see it done so. Much props to Nomi for writing this.
Here's some notes from my observations about Stories High 10 from this playwright's POV:
- Of course, I learned this after the fact but don't use one-liners for effect. I tried to come up with a couple of one-hit one liners that seemed so disjointed from the flow of the script. boo. i have to do better than that.
- Create the "Awwweee" character. From John Raposas's character in his play, One Year, he's crafted a character that made the audience pull for him. Make the audience say "Aweee" by playing the sympathy card. A lesson John taught me from a critique session we had. From the time of the first Awe, that's when you HOOK the audience.
- Create the lyrical play. My personal FAVORITE play is Last Verse written by Ed Mabasa. Honestly, it took me a couple of times to watch it to really understand it and to realize just how beautiful it is. I know a lot of people still wonder what it's about, as did I, but what I took from it was a love story that had the protagonist, played by the awesome Dennis Rodis, ask how do people fall so in love? what causes this? True this is written from an 18th century vampire dark standpoint, but that's what made it appealing to me. I also said lyrical because some of the lines are truly poetic.
- Comedy. My next couple of scripts are going to be comedies. Comedy and laughter is what sells the audience! Honestly, that's what roped me initially into being a playwright - hearing the laughter of the audience. Holy shit?! I wrote something that made strangers laugh? In my growth, my focus has been taken away from that, but after getting that infectious feeling of happiness from Ava Tong's Non Quite Unrequited, One Year, and Non-Sequiturs by Cathlin Goulding, I can't wait to create that joy again.
- The Love Story. One Year and Josef Anolin's Choices explored the relationship genre. I've kinda taken that out of my repertoire after writing Garden of Dreams, but I totally plan to go back to it to explore Love and the complications thereof soon. Unfortunately, I really haven't been in that mood to do so. Kind of when trying to write a Christmas play in June. Not the same feeling. Gets? But it was nice to see.
- The political play. Out of all the plays, Nomi's Brothers and Sisters took me the most to get used to. Honestly, it took me a while to warm up to it mostly because I felt that the message beat me over the head with what it wanted to say. But that's talking from the (ick) analytical pov of the structure of playwriting. HOWEVER, it's a very very worthwhile play to create and is needed! There are bad things happening in the Philippines regarding US/Philippine relations, political and economic, that needs to be addressed and it's great to see it done so. Much props to Nomi for writing this.
Thursday, July 10, 2008
Stories High 10
I'm SO thrilled that my play, THE GIFT, is a part of this years Stories High production of One-Acts produced by Bindlestiff Studio here in SF! Another step towards my dream...
Press Release for Stories High 2008
Bindlestiff’s staple production, Stories High, reaches it 10th anniversary with a new batch of writers, directors and actors eager to grace its stage.
Stories High is a series of theater workshops that culminates into a show. Artists and anyone who is interested in getting involved with community arts is invited to choose from acting, playwriting, directing, backstage managing, marketing, and producing workshops, all at affordable rates. Stories High hopes to discover, cultivate, and nurture new emerging artists. This is Bindlestiff' s 10th Stories High workshop and show.
Teasers for your tastebuds:
A couple in a bitter feud during their one year anniversary…
An insecure English high school teacher makes sense of her past…
A young woman meets the mother of her savior…
The power of love, and the fight for it, during a dancing class…
A soldier chooses between his family and his perceived country…
A murderer commits his last act of violence…
A confused boyfriend must decide between fidelity and guilty pleasure…
Featured Plays:
One Year written by John Raposas and directed by Thomas Paras
Non-Sequiturs written by Cathlin Goulding and directed by Ava Tong
The Gift written by Conrad Panganiban and directed by Nicole Maxali
Not Quite Unrequited written by Ava Tong and directed by Christina Ying
The Last Verse in Despair written by Ed Mabasa and directed by Kevin Correa
Choices written by Josef Anolin and directed by John Raposas
Brothers & Sisters written by Mario “Nomi” deMira and directed by R.J. Lozada
July 31st – August 16th
Thursday- Saturday
$10 - $15 sliding scale
Off Market Theater
965 Mission Street
Mission Street
San Francisco, CA 94103
Writing Facilitator – Samantha Chanse
Acting Facilitator – Allan Manalo
Directing Facilitator – Jeannie Barroga
Producers- Anthony Tagudar, Susanna Yu & Dianne Aquino Chui
For more information, please visit www.bindlestiffstudio.org. If you would like to make a reservation, please email Susie@bindlestiffstudio.org with the show title, date, and number of seats you’d like to reserve.
About Bindlestiff Studio
Established in 1997, Bindlestiff Studio is the nation's only independent and permanent community-based performing arts venue dedicated to the cultivation of emerging and established Filipino American artists. Its mission is to inspire community involvement and social awareness through the arts. Bindlestiff provides an affordable, professional theater to encourage artists to redefine the boundaries of social and artistic expression and provides the community access to diverse offerings in theatrical productions, music and film festivals, workshops in directing, production, acting, stand-up comedy, and writing, in addition to a children and youth theater program. Bindlestiff needs your support as it enters into a new phase of artistic and organizational development. To donate or to volunteer, please call (415) 255-0440 or visit our website at www.bindlestiffstudio.org
Press Release for Stories High 2008
Bindlestiff’s staple production, Stories High, reaches it 10th anniversary with a new batch of writers, directors and actors eager to grace its stage.
Stories High is a series of theater workshops that culminates into a show. Artists and anyone who is interested in getting involved with community arts is invited to choose from acting, playwriting, directing, backstage managing, marketing, and producing workshops, all at affordable rates. Stories High hopes to discover, cultivate, and nurture new emerging artists. This is Bindlestiff' s 10th Stories High workshop and show.
Teasers for your tastebuds:
A couple in a bitter feud during their one year anniversary…
An insecure English high school teacher makes sense of her past…
A young woman meets the mother of her savior…
The power of love, and the fight for it, during a dancing class…
A soldier chooses between his family and his perceived country…
A murderer commits his last act of violence…
A confused boyfriend must decide between fidelity and guilty pleasure…
Featured Plays:
One Year written by John Raposas and directed by Thomas Paras
Non-Sequiturs written by Cathlin Goulding and directed by Ava Tong
The Gift written by Conrad Panganiban and directed by Nicole Maxali
Not Quite Unrequited written by Ava Tong and directed by Christina Ying
The Last Verse in Despair written by Ed Mabasa and directed by Kevin Correa
Choices written by Josef Anolin and directed by John Raposas
Brothers & Sisters written by Mario “Nomi” deMira and directed by R.J. Lozada
July 31st – August 16th
Thursday- Saturday
$10 - $15 sliding scale
Off Market Theater
965 Mission Street
Mission Street
San Francisco, CA 94103
Writing Facilitator – Samantha Chanse
Acting Facilitator – Allan Manalo
Directing Facilitator – Jeannie Barroga
Producers- Anthony Tagudar, Susanna Yu & Dianne Aquino Chui
For more information, please visit www.bindlestiffstudio.org. If you would like to make a reservation, please email Susie@bindlestiffstudio.org with the show title, date, and number of seats you’d like to reserve.
About Bindlestiff Studio
Established in 1997, Bindlestiff Studio is the nation's only independent and permanent community-based performing arts venue dedicated to the cultivation of emerging and established Filipino American artists. Its mission is to inspire community involvement and social awareness through the arts. Bindlestiff provides an affordable, professional theater to encourage artists to redefine the boundaries of social and artistic expression and provides the community access to diverse offerings in theatrical productions, music and film festivals, workshops in directing, production, acting, stand-up comedy, and writing, in addition to a children and youth theater program. Bindlestiff needs your support as it enters into a new phase of artistic and organizational development. To donate or to volunteer, please call (415) 255-0440 or visit our website at www.bindlestiffstudio.org
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