Venue Details

34 Star Starred
Eddy St Theatreplex - The EXIT Theatre
Between Taylor & Mason 156 Eddy St. San Francisco, CA 94102
Venue website Get directions
3.5 / 5 Rated by 11 members
Review from Phyllis Rose-Child

This theater is very uncomfortable. The seats are kitchen chairs butted right up to the next chair. There are no arms on them and you sit shoulder to shoulder with strangers. The play was slow, uninteresting, poorly written and horribly acted. ...continued

reviewed Jul 30 2011 report as inappropriate
Review from josephine

Brilliant, provocative writing. The excellent directing, acting and set design fully support the themes of social injustice as they tenderly explore the complexity of this family dynamic.

reviewed Jul 29 2011 report as inappropriate
Review from Hllywd

It was difficult for me to pay attention during this show. There were parts of it that I enjoyed and found interesting yet other parts that seemed too dialogue heavy. The actress who played the woman without arms was the stand out. I did not...continued

reviewed Jul 29 2011 report as inappropriate
View All 11 Reviews
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Quotes & Highlights

“Schoen’s writing is rich and sensual … bawdy freakishness … filled with sideshow characters, and she adds more than one gruesome twist.” —SF Weekly Blog
“Surreal flourishes such as the mysterious puppet entity, Dr Chang, a hauntingly lifelike parasitic twin, Don Seaver’s dissonant soundscape, and a stellar courtroom scene staged by the sideshow performers, create an atmosphere of thoughtful unease that lingers long after the final bow.” —_SF Bay Guardian _
“A psychological tragedy with a tinge of gore, and layers of subtext that stew in the mind long after the spectacle is over… sensational story…strong performances and ornate costumes to rule in Schoen’s extravaganza.” —_The Guardsman _


A Note from Playwright Nikita Schoen:

Thank you for joining us as we step into a different sort of world…

In writing Left-Handed Darling, I got a chance to explore a few areas of history that have always intrigued me, all while adding a murderous twist. The first incarnation of the script was constantly referred to as a kaleidoscopic memory play. It allowed each character to revel in their history, and very raw places of being, while transporting the audience back and forth between Calliope’s realities before and after her life is so irrevocably altered. In the final draft, however, instead of following the thread of gritty violence and exploitation that had inspired the initial script, a personal compassion prevailed, and family tragedy took the more prominent place.

To be different, whether physically or inwardly, in a world that might prefer to compartmentalize and rationalize everything, with neat little labels no less, is an obstacle. To reconcile, to use abnormality as advantage, I believe, is a feat.

My heartfelt thanks to Cameron Eng, Sean Owens and Michelle Talgarow for their assistance in development and belief in me as I wrote my first script, and to the cast for their dedication, not only to the story, but the very words themselves. I’d also love to thank everyone who’s been in on the process from our very first readings.

<em>A Thousand Splendid Suns</em> Art Market San Francisco: Contemporary and Modern Art Fair Yoshi's Oakland Les Ballets Trockadero de Monte Carlo <em>Cirque du Soleil: LUZIA</em> <em>Beach Blanket Babylon</em>