Forget Leap Day – it’s Purim, biotch!

The Whole Megillah: 2.0
The cast of The Hub/Killing My Lobster Purim-related sketch comedy show The Whole Megillah 2: Uncut includes, from left, Alex Hersler, Andy Alabran, Millie DeBenet, Danny Webber and Wylie Herman. The show is at The Jewish Theater and, for one night, at the Jewish Community Center of San Francisco. Photo by Pak Han

The year always goes by so quickly. March 7 and 8 – next week, people – is Purim already. Where does the time go?

If you haven’t made your festive Purim plans, you should go see The Whole Megillah 2: Uncut, a co-production of The Hub at the Jewish Community Center of San Francisco and sketch comedy troupe Killing My Lobster. For a second year, the Lobsters, with help from The Hub’s Dan Wolf, lampoons all things Purim while adhering to the Purim tradition of telling tales from the Book of Esther, otherwise known as the Megillah.

I interviewed Wolf and Lobster Creative Director Andy Alabran for a story in the San Francisco Chronicle. Read the story here.

In the story, Wolf discusses the genesis of this Megillah:

“People have been dressing up and enjoying this story for centuries,” Wolf says. “When I called Andy to tell him my idea, I knew we could do two things: uphold the tradition of telling the story, and have a lot of fun. I talked to people at the JCC, and they agreed. We’re always so serious. There’s a time when it’s OK to lighten up. Purim is one of those times.”

The notion of dressing up was one way Wolf and the comedy writers at Killing My Lobster approached their “Megillah.” “I wanted it to be traditional, I wanted it to be contemporary and I wanted it to be very San Francisco,” Wolf says.

To that end, a video was created featuring a stellar roster of San Francisco drag queens enjoying cocktails and telling the Purim story. Happily, this video is available on YouTube. Please enjoy.

And now we have chapters 3 and 4…

And as a bonus prize, we have Alabran learning why delicious hamantaschen prune cookies are known as “Haman’s Hat.”


The Whole Megillah 2: Uncut, presented by Killing My Lobster and the Hub, continues through March 10 at The Jewish Theater, 470 Florida St., San Francisco. Additional performance March 7 at Kanbar Hall at Kanbar Hall at the Jewish Community Center of San Francisco, 3200 California St. Tickets are $15-$30. Call 415-292-1233 or visit

In praise of Lobsters who kill

This job I’ve given myself – to write about the people and companies creating the lively and wonderful Bay Area theater scene – is incredibly fun. I’ve been doing it for various publications for almost 20 years, and now that various publications have laid me off, I just do it myself because I want to and because I there are a whole lot of things going on around here that should be written about and shared.

A couple weeks ago, I had the pleasure of sitting in on the first run-through of Killing My Lobster’s latest sketch show, KML Hits Highway 101. That experience turned into the article you can find here.

Lobsters Andy

Last night I saw the finished product on opening night at Zeum. Because I was given entrée into the creation process, I think it would be unfair to turn around and review the show, so I’ve decided a standard review is inappropriate.

But I will tell you what I liked about the show (and there’s a whole lot to like about the show).

First of all, director Todd Brotze and his team of 12 writers have latched on to a good idea: the Schacter family, after their Danville home is foreclosed, hits the road in an RV (now their de facto home) to discover the glory of California. What follows are two acts, two hours and a mostly wonderful assortment of sketches, short films and recurring radio spots featuring Arnold Schwarzenegger and Clint Eastwood extolling the virtues of the Golden State (mostly Schwarzenegger expresses revulsion that Christian Bale is the new Terminator).

Even before the show started I had one of the best laughs I’ve had in a long time. A slide show displays various graphs of intersecting and non-intersecting circles of interest. For example, the circles of “comfort and dignity” and “airplane travel” found no intersection. My favorite one involved three circles: “Name dropped in rap songs,” “Hollywood landmarks” and “Equal parts crunchy and soft.” The intersecting area was revealed to be either “Roscoe’s Chicken and Waffles” or “Jenna Jameson’s vagina.”

The hot on-stage quartet (tucked in against the redwoods in Patricia Gillespie’s appropriately cartoonish set), led by music director Mike Smith on guitar, launched into Phantom Planet’s “California” then immediately began riffing and rocking into the first sketch and the first musical number featuring the singing-dancing Schacters: dad Chet (Calum Grant), mom Shirley (Emily Morrison), teen daughter Ericka (Christine Bullen) and 10-year-old son Wiley (Andy Alabran).

Lobsters Leslie

Throw in a rogue California AAA agent (Leslie Waggoner) and a needy CHP officer (Nick A. Olivero) and you’ve got just enough tension and weirdness to fill two enjoyable hours.

Favorite sketches of the evening: Grant, Olivero, Morrison and Waggoner reciting a list of the abundant California festivals (including the dirtiest festivals you could possibly imagine); Grant and Waggoner tussling over a fender bender, he in SoCal lingo, she in NorCal lingo (turns out the language of love is In-n-Out; Alabran and Morrison as redwood trees in a long-term relationship; Olivero and Morrsion in a car ballet (with Grant and Alabran supplying “beautiful” background dancing); and a Southern California luncheon with wired-shut jaws, Botoxed eyes and lips and an artificially inflated buttocks.

Comedy, as the Lobsters tell us, means different things to different people, and that’s one of the great things about sketch comedy. You get wonderful performers putting on and taking offer personas at warp speed. Comic tone and approaches shifts from scene to scene, and somewhere along the way, you’re going to find your brand of funny.

That said, I have to say two members of this energetic cast (all of whom have great moments) made me laugh every single time they were on stage. Alabran (top photo) and Waggoner (lower photo) are just flat out hilarious. They’re tightly wound, slightly manic and pitch perfect. Their timing is impeccable, and they can make the smallest things turn from chuckle- to guffaw-inducing. They’re my kind of funny.

Waggoner has a great moment toward the end of the show, when as a tour guide, she tosses off, “The San Andreas Fault was a gift to America from France.” It’s a minor line but gets a huge laugh because she’s just funny. And Alabran’s funniest bit is also his most manic as he plays a murderer trying to flee down 101 but is mired in traffic. “Fucking 101!” he keeps saying.

KML Hits Highway 101 is a staycation worth taking, a quick trip to the land of funny.


Killing My Lobster’s KML Hits Highway 101 runs May 28-June 14 at Zeum Theater, Fourth and Howard streets, San Francisco. Tickets are $15-$20. “Recession night” pay-what-you-wish performances May 31 and June 4. Visit for information.

Something funny going on with sketchy Lobsters

KML Hits Road
The cast of Killing My Lobster’s KML Hits Highway 101 includes (from left) Christine Bullen, Callum Grant, Leslie Waggoner, Andy Alabran and Nick A. Olivero. Photo by Ashley Forrette.

In the green rehearsal room that also doubles as official headquarters for veteran San Francisco sketch comedy crew Killing My Lobster, actors and their director are warming up by being silly. They’re in a circle mimicking one another using repetitive expressions such as “Funyons,” “kisses from Jesus,” “monkey dance” and “it’ll all grow back.”

Truthfully, if the first run-through of their upcoming sketch show, KML Hits Highway 101, is as funny as their warm-up, they’ll be in good shape.

Though rough – this is the first time the cast of six has been off book – the run-through proves to be hilarious as director Todd Brotze (below right), making his KML directing debut after having performed with the troupe, just about laughs harder than anyone in the room.

Todd Brotze

Brotze dreamed up the idea for this show last fall: “I pictured this all-American family hitting the California highways,” he says. But when the KML writers got together earlier this year to begin the serious business of writing serious sketches, Brotze says there had been a shift in tone. “The harsh realities of the economy had set it. We had all been through the holidays, and any hopes about the economy recovering had been dashed.”

Though a sketch show, “Hits Highway 101” has what you might call an arc, a through-line or a plot. Though there are about 20 sketches in the show, there’s also a central core of characters, the Schacter family. Dad has been laid off, the family home has been foreclosed and it’s time for a “staycation.” Dad Chat, Mom Shirley and teens Erica and Wylie are hitting the road in their biodiesel “green machine” RV, though what they’ll return home to is anybody’s guess.

With this idea in mind, a team of a dozen writers met weekly and churned out about 70 sketches, which were then whittled down to about 20. Some of the sketches involve the Schacters and the characters they meet on the road (like the AAA lady and the CHP officer who desperately wants to be part of their family). Others relate more to the vacation playground known as California.

In some ways, with its recurring characters and its dramatic framework, this sketch show almost resembles a play. That’s not exactly a surprise if you’ve been following the Lobsters, founded more than 10 years ago by Brown grads Paul Charney, Jon Wolankse, Marc Vogl and Daniel Lee. Sketch comedy is the meat and potatoes of the organization, but there’s diversification in the form of filmmaking and full-length play making. Three years ago, the group’s first play, Peter Sinn Nachtrieb’s Hunter Gatherers, garnered phenomenal reviews and racked up local and nation prizes.

The second play, Matt Pelfrey’s Pure Shock Value, took a bow earlier this year.

Wolanske says that KML’s success on the play front has had an impact on the creation of the sketch shows.

“Having collaborated with two really talented comedic writers on those plays awakened us to the fact that being mindful of the intricacies of the overarching structure is just as essential as creating winning characters and developing unique concepts,” Wolanske says. “Working with Peter and Matt, we’d see how they pulled their pieces apart, scene by scene by scene and beat by beat in order to dial up certain elements and give new peaks and shadings. Being so intimately involved, I think we picked up some habits and now pay attention to how the minor scenes and individual moments contribute to the bigger story – which, with our sketch shows, is really the theme of whatever show it is we are creating.”

Brotze says that as in actor in KML Faces the Music, which had a recurring character, he saw how the audience responded each time the character made an appearance.

“That spoke to me,” he says. “It involves the audience and gets them involved in the entirety of the show. The basic nature of a sketch show is you jump from scene to scene and throw a lot of information out there. I like the idea of getting anchored and coming back to a story of some sort.”

The sketches in KML Hits Highway 101 (which opens Thursday, May 28 and runs through June 14 at the Zeum Theatre), involve everything from dating redwood trees to cosmetic surgery in LA to a wine merchant named Lord Humongous.

KML postcard

Getting from the 70 sketches originally created for the show down to the 20 that are actually on stage can be a painful process for the writers. But Andy Alabran, whom Brotze describes as the “grand poobah of sketches” (he’s actually KML’s creative director for sketch shows), says this is when it’s important to understand the bigger picture.

“You have to remember that this is about a lot more than one sketch,” Alabran says. “You have to remember the goal: to get as many laughs as possible. Everyone is there to support that goal, and when something doesn’t work, you get a whole lot of feedback. You try this, get rid of that, cut a page, rearrange – whatever. You get to see exactly what the joke is, what makes it work, how to get to it and how to build it up.”

Alabran, who also performs in KML Hits Highway 101 as budding adolescent Wylie, performs in a sketch about two redwood trees that have been dating for 536 years and 17 days. The sketch has changed dramatically since its initial conception.

“With any sketch, you want the story to be in three acts: you introduce the characters and situation, you get involved in the situation, then you wrap it up in about five minutes,” director Brotze explains. “With that one, we got into it a little too quickly. We gave the joke away right at the top, and there was not build-up of the relationship. The writer took another stab at it and worked up the tension between the trees, Lucas and Fiona.”

Comedy is always a risk, of course. But the great thing about a sketch show is that if you don’t like something, wait five minutes and you’ll get something new and different.

“Sketch comedy, like any art form, is a huge leap of faith,” says Alabran. “You put it out there and hope for the best. Because this is comedy, you want as many laughs as you can get. When we put these things together, we share our opinions about what’s funny and what isn’t, but there’s no real right answer. We value each other’s opinions. We’re all open and collaborative and excited to do what we do. We put it out there, and if someone laughs at our stuff, that’s great. We have fun creating it together, and because we enjoy creating it, I think that translates to the stage. It’s like fine art…but with fart jokes.”


Killing My Lobster’s KML Hits Highway 101 runs May 28-June 14 at Zeum Theater, Fourth and Howard streets, San Francisco. Tickets are $15-$20. “Recession night” pay-what-you-wish performances May 31 and June 4. Visit for information.


Dog Bytes: Graphic opera, Moon revue, Lobster film

Cool things happening in San Francisco during the next day or two. Check them out:

– The pop opera The Rosenbach Company is at 8 tonight (May 14) at the Jewish Community Center. The piece is by Ben Katchor (projections, text and direction), the author of the comic-strip series Julius Knipl, Real Estate Photographer, The Cardboard Valise, Hotel & Farm and The Jew of New York. You’ve probably seen his work in the New Yorker. Mark Mulcahy composed the score and performs the role of Abe Rosenbach. Mulcahy has released the albums Fathering, Smilesunset and In Pursuit of Your Happiness. He also composed the music for the TV series “The Adventures of Pete & Pete” with his fictional TV band, Polaris. At the JCC, Katchor’s picture stories and drawings will be on exhibit in an exhibition called “The Backlit Word” through June 30. The exhibition is free.
Tickets for The Rosenbach Company, which tells the story of the world’s preeminent rare book dealer in the first half of the last century, are $15-$22. Call 415-292-1233 or visit for information. The JCCSF is at 3200 California St., San Francisco.

42nd Street Moon celebrates its 15th anniversary with a world-premiere revue: Peddling Rainbows, a tribute to the lyrics of E.Y. “Yip” Harburg, whose most famous song (with Harold Arlen) was “Over the Rainbow” from The Wizard of Oz. Among his other hits are “Brother, Can You Spare a Dime?” “It’s Only a Paper Moon,” “April in Paris,” “Happiness Is Just a Thing Called Joe” and “Down with Love.” The cast includes Andrea Brembry, Bill Fahrner, Susan Himes-Powers, Maggie May, Peter Sroka, Scarlett Hepworth and Alexander Nee. Previews begin Thursday, May 15, and the show continues through May 25 at the Eureka Theatre, 215 Jackson St., San Francisco. Tickets are $22-$38. Call 415-255-8207 or visit

– Comedy troupe Killing My Lobster and Intersection for the Arts pair up to present a one-night-only film event: KML Gets Reel. This group fundraiser-auction-short film showcase will screen some of KML’s most beloved short films and preview the new short film Orifice Visit and the mini-feature Evolution: The Musical (above). Doors open at 7:30 p.m. and the screening begins at 8 at Intersection, 446 Valencia St., San Francisco. Tickets are $10-$20 on a sliding scale. Visit for information.

Here’s the trailer for Evolution: The Musical:

Tip-top ten

Happy holidays, Theater Dogs!

Thanks for reading the blog in 2006. I’ll try to make it bigger, better, funnier and fresher in 2007.

Below you’ll find my Top 10 list of favorite theater experiences in 2006. I’d love for you all to share some of your favorites as well, so use the comment feature liberally.

1.The Clean House,TheatreWorks

Sarah Ruhl’s immaculate play — is it a comic drama or a dramatic comedy? — reveals a writer so attuned to the human heart that her work may actually be beneficial to your health. This production, helmed by Juliette Carrillo, sure was. Love is a mess, Ruhl tells us. It’s dirty (like a good joke), messy and, at its best, like really good homemade chocolate ice cream.

2. The Glass Menagerie, Berkeley Repertory Theatre

The news that Rita Moreno, the Bay Area’s resident living legend, would tackle the role of Amanda in this Tennessee Williams classic was intriguing. Could Moreno handle it? Anyone who doubted Moreno’s chops was quickly proven wrong by her powerhouse portrayal of a mother desperate to see her children succeed in a harsh world. Director Les Waters gave us such a fresh approach to the play that it almost seemed newly minted.

3. Love Is a Dream House in Lorin, Shotgun Players

Playwright Marcus Gardley did a magnificent thing with this world-premiere play: He turned a neighborhood into art, and in doing so made the specific universal. Gardley immersed himself in the history of Berkeley’s Lorin District — from the recent past clear back to Native American days — and, with the help of director Aaron Davidman, managed to capture something significant about each era leading up to the present. The cast of more than 30 professionals and nonprofessionals found the heart of the piece and showed us over and over again that without community, we’re not much.

4. Hunter Gatherers, Killing My Lobster

Of all this year’s comedies, Peter Sinn Nachtrieb’s world premiere for sketch troupe Killing My Lobster was the meatiest. Maybe it had something to do with the onstage slaughter of a lamb at the play’s start. Or maybe it was the huge chunk of roasted meat that factors into the play’s bloody end. Whatever, this was an aggressively funny play about our primal, cave-man impulses, man’s need to hump (or kill) everything in sight and woman’s need for chocolate.

5. 4 Adverbs, Word for Word

San Francisco’s Daniel Handler (aka Lemony Snicket) ended his “Series of Unfortunate Events” books this year, but not before releasing a book under his own name. Four chapters of that book (Adverbs) became the basis for a typically wondrous production by Word for Word, the company that translates short fiction to the stage without changing a word of the original text. Kind of makes you glad Lemony Snicket is taking a break.

6. Dessa Rose, TheatreWorks

A musical about slavery sounds like a glum proposition, but in the hands of composers Lynn Ahrens and Stephen Flaherty, glum turns into serious, which turns into transcendent. Based on the novel by Sherley Anne Williams, the story of an escaped slave and the slave owner she reluctantly befriends bears the weight of history and the healing power of music.

7. In On It, Encore Theatre Company

Canadian playwright/director Daniel MacIvor’s work isn’t that well-known south of our northern border, but based on this dynamic, beautifully directed and performed piece,
MacIvor should be in demand. Actors Ian Scott McGregor and Glenn Peters broke the fourth wall, bent time and concealed key details as they told us the story of actors who used to be lovers working on a play about their relationship. Or were they?

8. Gem of the Ocean, American Conservatory Theater

The late August Wilson received a beautiful valedictory production of his second-to-last play from ACT and director Ruben Santiago-Hudson. The electric jolt of Wilson’s language — “So, live!” are the play’s final words — coursed through the nearly three-hour show, but the sturdy cast, headed by Michele Shay as Aunt Ester, made it very much alive.

9. Restoration Comedy, California Shakespeare Theater
San Francisco writer Amy Freed’s effervescent comedy is based on two 17th-century comedies that wished they could have been this fresh and funny. Special mention must be made of the hilarious Danny Scheie, who played Sir Novelty Fashion who later becomes Lord Foppington, the star of the show-stopping Act 2 fashion show (Anna R. Oliver provided the costumes).

10. Permanent Collection, Aurora Theatre Company

This serious drama about race relations by Thomas Gibbons veered into polemics, but before it did, the battle between a black man and a white man over a collection of art is humane, disturbing and, best of all, thought provoking.

The best shows that didn’t necessarily originate here (or were on their way somewhere else — like Broadway) include: Jersey Boys (Best of Broadway/SHN); A Chorus Line (Best of Broadway/SHN); The Miser (Berkeley Repertory Theatre/Theatre de la Jeune Lune); The Light in the Piazza (Best of Broadway/SHN); The 25th Annual Putnam County Spelling Bee (Stone, Nederlander, Barrington Stage Company et al); Swan Lake (Best of Broadway/SHN).

For more 2006 highlights, check out Jones for Theater.

OK. Now you…