recently made a mistake.
When asked by a reporter for a major newspaper what it meant to me to have been awarded a Guggenheim Fellowship I talked about plans for the future, plays I wanted to work on.
And while that's all well and good it wasn't until after the interview that I realized that the reporter was going to attribute my receiving the award to those plans, or to the success of my plays The Great Khan and 1984. 
Don't get me wrong - I am very proud of both those shows, and I am working on another non-Mime Troupe script which I mentioned to the reporter - but those are separate from the reasons I was awarded the Fellowship. Unlike many artistic grants the Guggenheim Fellowship is not purely project based; it is also very much based on the work you've already done, and the promise of more to come.
This is why the award is really a validation of my work with the San Francisco Mime Troupe. While my stage adaptation of 1984 has been widely produced, and I have high hopes for more productions of The Great Khan, it is undoubtedly the plays I've written for the never silent, always revolutionary Mime Troupe that put me on the list and over the finish line for the Fellowship. Long before my time The Troupe was creating amazing, challenging work - loved by audiences, cheered by activists, misunderstood or attacked by the corporate press, and denigrated by the conservative political establishment - and I have been proud to continue those traditions.
In particular I think the last two season of almost twenty episodes of activist political comedy radio plays/scripted podcasts that I wrote for SFMT during the national theatre shutdown, the fact that we decided despite the turmoil and restriction to keep the political theatre flag flying, may have been the final thumb on the scales in my favor. I guess they were listening.
I should have made this clear to the reporter.
My plays written for the San Francisco Mime Troupe are what the Guggenheim Foundation has really understood, and what they are honoring. I can't say how great it has always felt to have smart, passionate people get what I've been writing for The Troupe, but this sort of wonderful, national validation will make it that much easier when dealing with those who don't.

Speaking of which
is apperaring as Booker T. Washington in
one of the truly great American musicals - 
June 2 - June 26

Book by Terrence McNally
Music by Stephen Flaherty  Lyrics by Lynn Ahrens
From the novel by  E. L. Doctorow
Directed by Robert Kelley
"It was the music of something beginning..."
Set to the syncopated rhythms of a hopeful new age, this musical masterpiece traces the intersecting lives of an inventive Jewish immigrant, a courageous Black pianist, and a conflicted White mother at the dawn of the 20th century. Interweaving the delights of vaudeville, baseball, and nickelodeon with the hurly-burly of labor rallies and the discord of racial unrest, Ragtime is an impassioned, jubilant, and timeless tribute to the American Dream.

~ Also ~

The revolution is back in the parks - 
never silent, always radical!

July 2 - Sept 5
Script by Michael Gene Sullivan and Marie Cartier
Music and Lyrics by Daniel Savio
Directed by Velina Brown

In a country where we can finally stop wearing masks to get pizza and go to the movies, and where we again have a president who isn’t dumb as a two dollar ham, hard-working, middle-aged liberals Ralph and Alice wistfully yearn for The Before Times, when things seemed normal.

But for Zoe - their twenty-something daughter who grew up in a world of climate change, housing crashes, student debt, the rise of dictatorships and the fall of democracies - there is no “better” to go back to. For her the purgatory of the last two years was just a pause from life in Hell.

So what’s the point?

Isn’t it easier to just give up? If only her new, socially inept, maybe crazy, conspiracy-theorist friend wasn’t so intent on saving the world! Why are they so convinced Zoe is the one to do it? Why do they need Zoe’s help?

What kinda name is “Book”?

And what even is a portal gun?
Keiko Shimosato Carreiro, Andre Amarotico, Lizzie Calogero, Norman Gee 
and Alicia M. P. Nelson
The SFMT Band features
 Will Durkee (Guitars)Daniel Savio (Keyboards), and Jason Young (Drums).
Click here for full performance schedule

~ And ~

Theatre on Podil
(Kyiv, Ukraine)
The Ukrainian translation
 of the stage adaptation by Michael Gene Sullivan
Production was stopped
at the beginning of the Russian invasion,
but despite the war the theatre has resumed production!

Click here to visit website.