The Theatre Group at SBCC picks up ‘Dead Man’s Cell Phone’

Jenna Scanlon, right, is one of Santa Barbara's top actors, having performed with several local companies. Leona Paraminski is a star in her home country of Croatia. Ben Crop
Jenna Scanlon, right, is one of Santa Barbara’s top actors, having performed with several local companies. Leona Paraminski is a star in her home country of Croatia.
Ben Crop

In Sarah Ruhl’s plays, the subject matters may change, but one thing stays constant: nothing is what it seems, and even our closest friends and family, in the end, are unknowable. That conceit, with a technological edge, is the focus of “Dead Man’s Cell Phone,” opening tonight at SBCC’s Jurkowitz Theatre. Directed by Katherine Laris, this 2007 play cocks an eyebrow at the faith we put in our online selves, and takes its protagonist on a journey of self-discovery.

Jenna Scanlon, who has risen through the ranks of several local companies and productions to land starring roles, plays Jean, a shy and retiring woman who retrieves an incessantly ringing cell phone from a nearby cafe customer only to discover he’s dead. The corpse is played by another one of Santa Barbara’s top actors, Brian Harwell — also Ms. Scanlon’s boyfriend in real life — so we know that while this character may be dead, he hasn’t begun to have his say.

Read More

Time Traveler – ELEMENTS THEATER COLLECTIVE STAGES VIRGINIA WOOLF’S ‘ORLANDO’ AS A POP-UP

The "Orlando" cast, clockwise from left, Stephanie Farnum, Rob Grayson, Erika Leachman, Morgan Altenhoff and Tess Plant-Thomas
The “Orlando” cast, clockwise from left, Stephanie Farnum, Rob Grayson, Erika Leachman, Morgan Altenhoff and Tess Plant-Thomas

When Virginia Woolf published her gender-bending, time-traveling novel “Orlando” in 1928, her contemporaries initially put it down as frivolous, a distraction from the more serious work she was writing. And so it seemed doomed for decades to not be considered alongside novels like “To the Lighthouse.” That is until Sally Potter’s 1992 film version with Tilda Swinton revealed the story to be much more than fluff. “Orlando,” in a sparkling new adaptation by playwright Sarah Ruhl, continues the ascension of this work, and it closes Elements Theater Collective’s current season, starting tonight and playing in pop-up in several locations.

“This season our theme has been gender and sexuality,” says director Mary Plant-Thomas, who is marking this production as her last before she moves to San Francisco. “So it was a very explicit choice … But I also see that the play shares other core ideas with our plays, like time travel. I think that’s less a choice and more that we really value choosing new works that are also accessible.”

Read More