Bay Area pops with premieres
Aftershocks of the Great Recession continue to be felt throughout the nation’s arts communities, but most Bay Area theaters have shown admirable resilience and some are thriving. The most dramatic theater story of 2014 was the quick resurrection of Shakespeare Santa Cruz, reborn as the independent Santa Cruz Shakespeare through a concerted, broad-based community effort. After a successful two-play first summer season, the new troupe has enough solid funding to mount a longer, three-play season for 2015.
The flagship companies have been leading the way. American Conservatory Theater, which has been hosting many other companies at its Costume Shop, is on the verge of opening its long-awaited, renovated Strand second stage. Berkeley Repertory Theatre has launched a three-year, $50 million capital campaign to renovate its signature Thrust Stage and build out its Harrison Street campus with rehearsal halls and artists’ housing for its Ground Floor developmental program.
Smaller companies have been carving out their own way as well, creating new spaces in the face of the latest dot-com-driven real estate boom. Ragged Wing Ensemble pulled together a crew of other troupes to build and open the innovative Flight Deck arts center in downtown Oakland. At year’s end, the gritty PianoFight opened its new twotheater, restaurant and bar venue in the Mid-Market district.
Both are groups that emphasize the creation of new work, a trademark of Bay Area theater for the past few decades. Some 90 to 100 new plays premiered in the region in 2014, a number of which — particularly Dan Hoyle’s “Each and Every Thing” and Brian Copeland’s “The Scion” at the Marsh — would’ve made my top 10 list in less competitive years. The agony I suffered cutting this year’s list from 20 to 10 is a tribute to a very good year in Bay Area theater. High: Mikhail Baryshnikov set a high bar for the entire year, opening it in January with Big Dance Theater’s luminous “Man in a Case” at Berkeley Rep — Annie-B Parson and Paul Lazar’s mesmerizing adaptation of two Chekhov short stories, anchored by Baryshnikov and Tymberly Canale’s multifaceted, poignant performances of misplaced love. He closed the year on an equally exalted plane working in tandem with a