by Octavio Solis
directed by Loretta Greco
One of the Bay Area’s most cherished theatre artists, Solis presents us with a play derived from the same DNA as famed Magic playwright Sam Shepard. Enter this incredible, multi-layered fever dream in which a young man and woman wake up in a strange room, and must piece together their past identities and relationship while they construct a new future and grapple with the possibility of being parents.
Magic Theatre is proud to present this production as part of a National New Play Network Rolling World Premiere. Productions at Kitchen Dog Theater in Dallas, TX and The Theatre @ Boston Court in Pasadena, CA are also part of this rolling world premiere.
"[Playwright Octavio Solis] says that for one of his plays to resonate with an audience, it has to mean something, really mean something to him. 'Se Llama Cristina,' he says, is a play he has cared about every step of the way."- Chad Jones, San Francisco Chronicle
"Loretta Greco, the artistic director of the Magic (and who is also directing this play), says Se Llama Cristina is the perfect Magic play and quintessentially Solis—muscular, lyrical, and adventurous in structure."- Emily Wilson, The Rumpus
Dori Jacob: Did you always want to be a writer or was there a particular moment in your life that led you down this path?
Octavio Solis: I was always a poet in the most romantic sense of the word, poetry was my first love. I never aimed to get published. I just had this dream of becoming a writer. I loved poetry so much and I loved the lives of the great poets. But I never entertained that seriously because I would look in the phonebook and there was no section for poetry, there were no poets. I didn’t know where to find poets or what they did. I didn’t know then that most of them are instructors in colleges because that’s how they make their living! I originally devoted myself to my acting career and wrote in service of that but I never ever thought of bringing my writing and my playmaking together or thought of myself as a playwright until it happened. Then I had to make a choice and I chose to write. I’m still acting though when I write my plays, I’m always performing them. I hear them a specific way, I see the action, I feel the moments. I have to..I think that I’ve always been attracted to language because English is a second language to me and I like to figure out its nuances. So any kind of theatrical experience that utilizes lyrical language is always attractive to me. I don’t like verse plays per se (Yeats, Hoxwell, T.S. Eliot’s Murder in the Cathedral), I’m more interested in how the language remains active and not just how it exists for its own sake, but how language can BE an action. The language has to always be in service of the action, which is why I also freely mix lyrical language with our profane and/or mundane vernacular. There is a kind of immaculate ecstatic melody coexisting with down to earth gritty dialogue, which also has its own kind of poetry.
DJ: You originally began thinking about this play when you were expecting your daughter Gracie, 18 years ago. You shelved it for a long time and then picked it up again thinking it would be a sequel to your play Lydia. When did you know that this was an entirely different animal? Was there a light bulb moment when you knew what this play would be?
OS: I picked it back up more than two years ago so it’s hard to remember at what point I did anything. My play Lydia is such an El Paso work and a lot of my plays are set there because it’s my hometown and a place I am so familiar with. So when I changed the locations in Se Llama Cristina, making it a journey across uncharted territory for me, it changed the tenor of the entire work. I slowly began to realize, over the period of writing the first draft that this was definitely not going to be a continuation of Lydia. These characters have their own story to tell.
DJ: You are known for your insightful lens in writing the Mexican-American experience. Where does Se Llama Cristina fall in the canon of your work?
OS: Loretta thinks of Se Llama Cristina as kind of vintage Octavio Solis. I can’t connect this to my river plays, it has a heightened language and it is written about people in my culture so I feel like it probably lives with some of my very early work maybe? But it is very very different, it’s different in the way I move through time and it’s very different in the sense that it’s almost a two hander and I seldom write those. This play is both taking place in one day, which is almost like real time, but it is also covering certain occasions over the span of the year. So it tries to have it both ways; it’s very intimate and also works in broad swaths painting a kind of landscape that is, in and of itself, an additional character..This is a lot more challenging than my other plays because I set up a very complex labyrinth. I set it up for myself, for the audience and for the characters to traverse and I’m not sure at any point if we can get through. I know that the end and the beginning work really well. The twists and turns inside of the labyrinth though; sometimes it feels like they are dead ends, sometimes it feels like there’s quick sand, sometimes it feels like I’m going down a false path so then I have to find the right path. So there’s a lot of blind alleys that I’m hitting. I have to continually change direction so that by the time we get to opening, no one is running into those blind alleys as they watch the play. It’s very tricky territory.
DJ: How do you approach writing about unspeakable or taboo subjects; things like incest and domestic violence? Do you ever feel overly exposed or vulnerable to the outside world by putting such intimacy out there?
OS: No, I don’t feel exposed because it’s not me (it’s those characters). I know that the characters are aspects of who I am but I never feel like the work is autobiographical. I don’t like autobiographical work in that way. My characters are often writers, they are often naïve and they often share a lot of my personality traits but they still aren’t me. So I never feel vulnerable. I have no idea how I write about these topics! I have to place myself in a kind of trance whenever I write. I have to enter a trance world and I never know where it’s gonna take me. It’s not automatic writing. I enter a world that I construct to some degree, but then having constructed it, I let my characters do what they need to do and THEY will take me down the rabbit hole. So I have to go down it and when I do it’s like, “alright well this is interesting.”.I’ve known for a long time that my plays weren’t going to get widely performed because of the subject matter. They’re just not. No matter how good Lydia is, it won’t see many productions because of what happens in the end—or Bethlehem, same situation. A lot of theatres just aren’t going to produce my work. But I have to tell the truth as I know it and write it. Language is the way to enter the darker moments because the things that are happening are often not depicted in their rawness or their reality, they are spoken about. It happens in language. You seldom see an actual murder happen on stage, or something sexually violent in front of you. And if you do, it’s elevated to a poetic level. For example the end of Lydia: it isn’t incest or even sex. It’s a gift, a kind of blessing and a way for the two characters to say goodbye to each other. When I was writing it, I remember the moment I realized what had to happen next. And I thought, OK, this is what she wants, he has to do it, he has to comply. If my characters are going to be that courageous, I have to have the courage to document it, follow them and give them that respect. Then, after that, it’s on everyone else. So, I’ve made my bed and I know I’m lying in it and that’s OK. I used to be angry about how few theatres wanted to produce my work but my wife would kindly remind me that I write plays with like 13 characters and there is sex or nudity on stage or someone’s heart gets taken out or someone is burned alive…and she would say “Are you surprised?!” And I just realized that I have to make my peace or change my writing and write safer work so I can get produced. I won’t do it. I’m not a “realistic” writer!
DJ: Thank god for that, Octavio..We couldn’t be more excited that there are two more committed productions of Se Llama Cristina at Kitchen Dog Theater in Dallas and The Theatre @ Boston Court in Pasadena in the coming year. Do you foresee making continuous substantive changes for each one or do you feel like the play reaches (or will reach) its evolutionary threshold?
OS: With a new work we are all finding it together. We’ll be lucky, I’ll consider myself very very fortunate if we find it ALL in this production. If we do, that’s what we’ll take and assume that it’s finished when I take it to the next company. But I’ve experienced (even in plays that I’ve considered finished) that I’ll see it once and then I’ll see it again and the second time I’ll go “ooooh, I never thought about that” or “I need to fix that.”.Therefore, I think of these other two productions as opportunities to continue working on the play if it looks like I’m going to need to. I mean, I thought back in September that this was done and then we did four separate workshops and each of those yielded so much more to me. Every day of rehearsal we were finding more and more. A new cast and creative team will put different emphases on things, but at some point, they will have to trust what I wrote and that it got worked. A lot. I’m not averse to a continuing evolution of my work at all. There have been productions of my other plays where I’ve said definitively that it’s done. But really, if they give me any kind of leeway, I will try and find a way to improve on it. I’m just never done. With me, it’s usually the actors saying “Please!! Stop!!! We have to memorize this!!” At some point, you gotta stop. The audience accepts what they see as finished and really, they complete it.
DJ: These characters are so richly evolved. I find that in each of your plays, the characters embody so many facets of the human experience. How do you go about creating these identities? Do you draw from people in your own life to formulate your characters?
OS: Anybody who opens their mouth and tells me their story…they should really say “this is copyrighted” because I’ll find ways to use it. I will remember it. I don’t keep notes or a journal or anything like that but there are things that stick with me and sometimes they’ll unconsciously come out. Someone might say something in a room innocently and it will sort of land with me and I’ll think “oh I can use that”. The world is my collaborator. I have to keep my antennae out for anything and everything because if I just rely on my own resources and what’s in here, [points to himself] I’m rather limited. I need to be able to use everything around me for inspiration and for material. I don’t know how it will all fit but somehow it all kind of makes sense in the mythos that I create when I write. I don’t build my characters through their psychology. I believe that a character is defined by what he/she is doing NOW. A character is defined by their actions. The more the character actually DOES in the room, the more real they are. They have baggage; in my plays they usually each have one big bag. In Se Llama Cristina one character carries a bag labeled “DAD” and the other has one labeled “MOM” because that’s what they are going to be. It’s all about that and keeping it as simple as possible. The mother-to-be has issues with her father; the father-to-be has issues with his mother. This baggage has to be resolved before they can become parents. Characters can contradict themselves, that’s OK because that’s what we are: walking contradictions.
DJ: What do you love about this play? What frustrates you about it?
OS: What I like about the play are also the things that are frustrating. I like how memory is a living, breathing thing and how these characters have to be actors, they have to perform their own memories in order for them to come out on the other side and go “oh, that’s what we did! That’s who we are!” They don’t just sit and remember in a passive way, it’s an active thing. The only way to remember is by reliving that moment. Let’s relive it as if we don’t know it and we’ll come out on the other side and go, “that’s who we are”. I love that and I think there are a number of my plays that use that form to some extent. What’s also frustrating is how the play is so much about memory but you can’t control what they remember and when. It’s hard to deal with the snowballing effect of memory when you are trying to keep the play within a specific time span. I don’t have ALL night long to explore all the memories they are having. They have to be in the service of the search for a baby. To make their baby come back. All I have is a peephole. What they show me is all I know about them and all I have to work with. Plays are not novelistic. We have a very limited window of opportunity where economy is the name of the game so you have to be very selective about the things you show or else the play can go in too many directions.
DJ: I love how this play is this perfect harmony of “grit and grace,” to quote one of our actors during rehearsals. These are two people struggling to strike a balance and find their identities along with their child, but their landscape keeps shifting. What does it mean to earn the chance to rewind and make a different choice?
OS: It means a recognition that you messed up. If you desire to go back and have a redo, it means that you at least recognize that something was wrong. You made a wrong move and you are paying for it now. You wish you could turn back the hands of time to re-live it and make a different choice, the right choice. Nobody gets that in life. Nobody gets to do that except in the small, startling ways when we have little epiphanies. Like when someone has a bad relationship and they get another chance to do it right with the next person, the second chance, but the former path has been burned; that’s the lesson. At least in the theatre we have an opportunity to try to dream what that right choice could be; to press rewind on a life and have characters relive it differently. The idea of that is interesting to me. It is a recognition of our humanity, our frailty and our eminent fallibility. Because that is mainly what we are: FAILERS, which is different than failure. A failer is someone who constantly fails. That’s what we’re always doing. From those fails, there are crucial things to learn.
DJ: This is the first play magic has produced of yours since Prospect in 95. You came on board as the director for Tarell Alvin McCraney’s The Brothers Size in 2010 but now you are back for the world premiere of Se Llama Cristina. How does it feel to be back at Magic as a playwright after almost 2 decades?
OS: It feels like only yesterday. This joint has a warmth and familiarity that makes me feel instantly safe and assured in my task. It's a rough, scruffy place where we're supposed to skin our knees and grow some calluses. It's a house full of old ghosts, and sitting in the theatre at night, I can almost hear the voices that rose out of the fevered imaginations of Marlene Mayer and Sam Shepard and Luis Alfaro and Elizabeth Egloff and John O'Keefe. There are some of my ghosts there too. Only now I get to initiate some new ones with this play.
Octavio Solis (Playwright) returns to Magic following the premieres of Man of the Flesh and Prospect with Se Llama Cristina. His most recent Magic credit is as director of The Brothers Size. A playwright and director living in San Francisco, His works John Steinbeck’s The Pastures of Heaven, Ghosts of the River, Quixote, Lydia, June in a Box, Lethe, Marfa Lights, Gibraltar, The Ballad of Pancho and Lucy, The 7 Visions of Encarnación, Bethlehem, Dreamlandia, El Otro, Man of the Flesh, Prospect, El Paso Blue, Santos & Santos, and La Posada Mágica have been mounted at the California Shakespeare Theatre, Mark Taper Forum, Yale Repertory Theatre, the Oregon Shakespeare Festival, the Denver Center for the Performing Arts, the Dallas Theater Center, Magic Theatre, Intersection for the Arts, South Coast Repertory Theatre, the San Diego Repertory Theatre, the San Jose Repertory Theatre, Shadowlight Productions, the Venture Theatre in Philadelphia, Latino Chicago Theatre Company, the New York Summer Play Festival, Teatro Vista in Chicago, El Teatro Campesino, the Undermain Theatre in Dallas, Thick Description, Campo Santo, the Imua Theatre Company in New York, and Cornerstone Theatre. His collaborative works include Cloudlands, with music by Adam Gwon, Burning Dreams, cowritten with Julie Hebert and Gina Leishman, and Shiner, written with Erik Ehn. Solis has received an NEA 1995-97 Playwriting Fellowship, the Roger L. Stevens award from the Kennedy Center, the Will Glickman Playwright Award, a production grant from the Kennedy Center Fund for New American Plays, the 1998 TCG/NEA Theatre Artists in Residence Grant, the 1998 McKnight Fellowship grant from the Playwrights Center in Minneapolis, and the National Latino Playwriting Award for 2003. He is the recipient of the 2000-2001 National Theatre Artists Residency Grant from TCG and the Pew Charitable Trust. He has also just been awarded a United States Artists Fellowship for 2012. Solis is a Thornton Wilder Fellow for the MacDowell Colony, New Dramatists alum and member of the Dramatists Guild.
Loretta Greco+ (Director/ Producing Artistic Director) is proud to be launching her fifth season as Magic’s Producing Artistic Director where in the last four seasons she has developed and produced more than a dozen new plays. Her selected directing credits while at Magic include: Mauritius, Goldfish, Oedipus el Rey, Or,, What We’re Up Against, Annapurna, Bruja, and The Other Place. Ms. Greco’s New York premieres include: Tracey Scott Wilson’s The Story, the Obie Award-winning Lackawanna Blues by Ruben Santiago Hudson, and Nilo Cruz’s Two Sisters and a Piano at The Public Theater; Katherine Walat’s Victoria Martin Math Team Queen, Karen Hartman’s Gum, Toni Press Coffman’s Touch, and Rinne Groff’s Inky at Women’s Project; Emily Mann’s Meshugah at Naked Angels; Laura Cahill’s Mercy at The Vineyard Theatre and Nilo Cruz’s A Park in Our House at New York Theatre Workshop. Additional regional credits include the critically acclaimed revival of David Mamet’s Speed-the-Plow and the West Coast premiere of David Harrower’s Blackbird at American Conservatory Theater; Romeo and Juliet and Stop Kiss at Oregon Shakespeare Festival as well as productions at LaJolla Playhouse, South Coast Repertory, McCarter Theatre Center, Long Wharf Theatre, Studio Theater, Intiman Theatre, Williamstown Theatre Festival, Cincinnati Playhouse in the Park, The Repertory Theatre of St Louis, Area Stage, Coconut Grove Playhouse, Playmakers Repertory Company, and The Cleveland Play House. She directed the national tour of Emily Mann’s Having Our Say as well as the International premiere at the Market Theatre in Johannesburg, South Africa. Ms. Greco has developed work with dozens of writers at Sundance, The O’Neill, South Coast Repertory, The Mark Taper Forum, New Harmony, New York Stage and Film, The Cherry Lane, New Dramatists, and The Public. Prior to her Magic post, she served as Producing Artistic Director of New York’s Women’s Project and as The Associate Director/Resident Producer at the McCarter Theatre in Princeton where she conceived and launched their Second Stage-On-Stage Initiative and commissioned the work of Doug Wright, Nilo Cruz, and Joyce Carol Oates among others. Ms. Greco received her MFA from Catholic University, her BA from Loyola University, New Orleans and is recipient of two Drama League Fellowships and a Princess Grace Award.
Rod Gnapp* (Abel) A veteran of Bay Area stages, Mr. Gnapp was last seen at Magic in Annapurna, What We're Up Against, Goldfish, Mrs. Whitney and Mauritius. He most recently appeared in The Elaborate Entrance of Chad Deity at the Aurora Theatre Company and A Behanding in Spokane at the SF Playhouse. Theatre credits also include work at American Conservatory Theater, Berkeley Rep, California Shakespeare Theater, San Jose Rep, TheatreWorks, Marin Theatre Company, the Huntington Theatre Company, Brooklyn Academy of Music, Seattle Rep, Virginia Playhouse and the Pittsburgh Public Theater. Mr. Gnapp can be seen in the independent feature film Touching Home by the Miller Brothers, with Ed Harris. He can also be seen in Valley of the Hearts Delite, Calendar Confloption (Pixar), and Return to the Streets of San Francisco. He is the recipient of many Bay Area Theatre Critics Circle (BATCC) Awards and is a graduate of the American Conservatory Theater's MFA program.
Karina Gutiérrez (Girl) is thrilled to make her Magic Theatre debut in the world premier of Se Llama Christina. A graduate of the University of California, San Diego, Karina worked with the San Diego Repertory Theatre on projects such as Quinceañera, Clean House, and Culture Clash's Water and Power. Since moving to the Bay Area she has been involved in different projects including readings of Padre Lazaro, Federico Garcia Lorca’s Don Perlimplin and the One Minute Play Festival. Later this fall, Karina will appear in the world premiere of Macario at Teatro Visión.
Sarah Nina Hayon* (Woman) is proud to be a native San Franciscan and thrilled to be making her Bay Area debut here at Magic. A three-time Drama Desk Nominee, she is a member of both Partial Comfort Productions & LAByrinth Theater Company in New York City and was most recently seen in Partial Comfort’s TEN. Passionate about new play development, she has workshopped new plays with LAByritnh, Playwrights Horizons, Naked Angels, The Lark, New Dramatists, INTAR, Rattlestick, The Vineyard, Manhattan Theatre Club, The Public Theatre, hotInk, Page 73, HOLA, Yale, The Huntington, New York Stage and Film and NYTW. Recent Theater: The Unusual Love Life of Bed Bugs and Other Creatures (EST, Jamie Richardson), Nature of Captivity (Mabou Mines, Victor Maog), Bright New Boise (Drama Desk Nom., Partial Comfort, Davis McCallum), Eldoris (T41, Leigh Silverman), Sor Juana (Royal Shakespeare Company & LAByrinth), The Provenance of Beauty (Obie Award, Drama Desk Nom.,The Foundry Theater, Melanie Joseph), Widows (Reverie, dir. Hal Brooks) KIDSTUFF (Partial Comfort, Erica Gould), Rearviewmirror (Drama Desk Nom Reverie, dir. Carl Forsman) ...A Matter of Choice (Partial Comfort, John Gould Rubin). Recent TV & FILM: Oscar, Parker & Maggie, Are We There Yet, The Green, SATC, Law & Order, Avatar.
Sean San José* (Man) is proud to work for Intersection for the Arts and resident company Campo Santo. He is honored to work on his 10th project with Octavio Solís and for the 2nd under Loretta Greco at Magic Theatre. San José is lucky for the Baby Girls in his life, special nieces and goddaughters: Samirah, Lilah, Carmelita.
* Member of Actors' Equity Association, the Union of Professional Actors and Stage Managers.
Julie Haber* (Stage Manager) is thrilled to return to Magic Theatre after stage managing last season's Jesus in India and Bruja. She has stage managed at regional theatres all over the country, including the past two summers at Shakespeare Santa Cruz. In addition, she served as Administrative Stage Manager at ACT for three years and as Company Stage Manager at South Coast Repertory for 20 years, stage managing over 80 productions and overseeing the stage management departments. She has enjoyed doing children’s theatre at Mainstreet Theatre Company, and she has also stage managed two operas: Don Juan in Prague (in Prague and at BAM), and Guest from the Future (Bard SummerScape). She received her MFA from Yale School of Drama and has taught stage management at UC Irvine (where she received her BA), UC San Diego, Cal Arts and Yale School of Drama. Julie is a proud member of Actors Equity.
Andrew Boyce** (Scenic Designer) is a NY based scenic designer who works in Theatre, Opera, and Film. Other credits with Magic are: Bruja, Annapurna, and The Lily’s Revenge. Other recent credits include: The Whipping Man (Actors Theatre of Louisville); The Magic Flute (Curtis Opera); Red Handed Otter (Playwrights Realm @ Cherry Lane, NYC). Other regional credits with: Williamstown, Westport Playhouse, Asolo Rep, Syracuse Stage, Theatreworks (CA), Bay Street Theatre, Portland Center Stage, The Wilma Theater, Marin Theatre Company, & American Players Theatre, among others. Andrew is a member of the Wingspace Design Collective and is graduate of Yale School of Drama, where he is currently on faculty in the design department.
Alex Jaeger** (Costume Designer) For Magic Theatre - Bruja, Annapurna, What We're Up Against, OR,, Oedipus El Rey, Goldfish, Mrs. Whitney, Mauritius. Other theaters: 4000 Miles, Maple and Vine, Once in a Lifetime, The Homecoming, November, Rock N Roll, Speed the Plow, ACT; Other Desert Cities, Mark Taper Forum; Two Sisters and a Piano, Public Theatre, N.Y.; August: Osage County, Cat on a Hot Tin Roof, Dead Man's Cell Phone, Romeo and Juliet, Handler, Fuddy Meers, Oregon Shakespeare Festival; Twelfth Night, Shakespeare Santa Cruz; The Paris Letter, Eclipsed, Kirk Douglas Theatre; The Taming of the Shrew, Idaho Shakespeare Festival; Lombardi, Cleveland Playhouse.
Burke Brown** (Lighting Designer) NYC designs: Ars Nova, NYSF-Public Theater, Incubator Arts Project, Julliard, La Mama ETC, Under The Radar Festival, Playwright’s Realm, and the Baryshnikov Arts Center. Regional Designs: Northern Stage, Asolo Repertory Theatre, Two River Theater Company, and Playmakers Repertory Company. International Design: Abbey Theatre (Dublin), Golden Mask Festival (Moscow), Seoul Performing Arts Festival (South Korea), Festival of Two Worlds (Italy), and Opera Erratica (Toronto). Recent dance designs: Aszure Barton & Artists, Compañia Nacional de Danza (Mexico), St. Louis Ballet, Ballet Idaho and Houston Ballet. Projection designs: Diverse City Co., the Big Apple Baroque, Yale Baroque Opera Company, and Bone Orchard Collective. MFA, Yale. Wingspace.com/burke
Sara Huddleston (Sound Designer) joined Magic staff in March ’07. For Magic, she designed Another Way Home, Any Given Day, Jesus In India, What We’re Up Against, Or,, The Brothers Size, An Accident, Mrs. Whitney, Goldfish, Mauritius, Evie’s Waltz, The K of D, and Octopus (Magic/Encore Theatre Company). Further Bay Area sound design credits include In On It and T.I.C (Encore Theatre Company); The Shaker Chair (Encore Theatre Company/Shotgun Players); Macbeth (Shotgun Players); Volleygirl and Riot (A.C.T Youth Conservatory); Three on a Party (Word for Word); A Round Heeled Woman (Z Space); and Invasion! (Crowded Fire). Ms. Huddleston received a B.F.A from the Carnegie Mellon School of Drama.
Deborah Sussel (Dialect Coach) continues her work with Magic Theatre having coached Why We Have a Body and Any Given Day last season. She recently worked on Blue/Orange at the Lorraine Hansbury Theatre and coached My Fair Lady at the S.F. Playhouse. She is a Senior Lecturer at UC Berkeley in the Theater, Dance, and Performance Studies Dept., and works privately with clients on voice, speech, and communication techniques. Deborah will be coaching The Ruling Class at UC Berkeley this spring.
Dave Maier (Fight Director) Dave has composed violence for several Magic productions including Bruja, >Any Given Day, The Lily’s Revenge and Oedipus el Rey, which won a SF Bay Area Drama Critics Circle Award for fight direction. He is the resident fight director at Cal Shakes and a company member with the Shotgun Players. His work has been seen at Berkeley Rep, ACT, San Jose Rep, Shakespeare Santa Cruz, SF Playhouse and Impact Theatre, among others. Recent credits include; Troublemaker (Berkeley Rep), Hamlet (Cal Shakes) and The Elaborate Entrance of Chad Deity (Aurora Theatre). He is a Full Instructor of Theatrical Combat with Dueling Arts International and a founding member of Dueling Arts San Francisco. He is on the adjunct faculty of St. Mary’s College of California and UC Santa Cruz and is currently serving as Outreach Coordinator for Berkeley Rep School of Theatre where he teaches combat certification classes.
Dori Jacob (Dramaturg) joined the Magic family in 2010 and is proud to be in her second season as Literary Manager and Dramaturg for the company. For Magic, Ms. Jacob dramaturged the revival of Claire Chafee’s Why We Have a Body last season and is thrilled to be on the creative team for the world premiere of Octavio Solis’ Se Llama Cristina. Associate dramaturgy credits include: the world premiere of Luis Alfaro’s Bruja; the American premiere of Linda McLean’s Any Given Day; the world premier of Lloyd Suh’s Jesus in India; the world premiere of Sharr White’s Annapurna; and the rolling world premiere of Taylor Mac’s The Lily’s Revenge. Further Bay Area dramaturgy credits include: Still Waiting for Godot (The OFFCENTER) and Assassins (Shotgun Players). As the resident line producer for Magic Theatre’s developmental programming, Ms. Jacob’s credits include: 2010, 2011 & 2012 Virgin Play Series and the 2012 Asian Explosion Festival. Ms. Jacob is a proud member of both the National New Play Network’s Literary Committee and Literary Managers and Dramaturgs of the Americas. She is a graduate of UC Santa Cruz and NYU’s Tisch School of the Arts...
* Member of Actors’ Equity Association** Member of United Scenic Artists local 829.
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