SF Fringe Festival tells it like it is with random tales from the service sector and beyond
THEATER Sitting in the Exit Café with a can of Guinness and the San Francisco Fringe Festival program is one of life's modest but absorbing pleasures. For those without much inside knowledge on the lineup (currently encompassing 36 companies and 158 performances), it's a little like taking a vacation by pitching darts at a wall map. There were several immediate sub-themes to choose from for 2013. I could have picked shows with bananas in the title, for instance. But for whatever reason, I dived into the service and servitude sector.
Of course, the Fringe, now in its 22nd year, is a lottery-based operation, so it is fate's fingers that pluck these patterns from the cultural whirl. At the same time, you don't need the I Ching to know that serving the rich is about all that's left of the economy for most of us, making it hardly surprising to find so many stories of bartenders, wait staff, sex workers, and mermaids-who-are-also-sex-workers floating in the pool.
Things began on a high note with Jill Vice's witty and deft solo, The Tipped & the Tipsy, which brings the querulous regulars of a skid-row bar to life vividly and with real (quasi-Depression era) charm. Without set or costume changes, Vice (who developed the piece with Dave Dennison and David Ford) proves a protean physical performer, seamlessly inhabiting the oddball outcasts lined up before bartender Candy every day at Happy's — names as loaded as the clientele. With a love of the underdog and strong writing and acting at its core, Tipsy breezes by, leaving a superlative buzz.
O Best Beloved isn't about service work, but the theme still crops up in the opening story — "How the Camel Got Her Hump" — an unburdened beast (played by Sam Jackson) whose relaxed work ethic draws negative attention. It's one of three scheduled children's tales by Rudyard Kipling (adapted by actor Joan Howard and director Rebecca Longworth), delivered by a rowdy six-person cast of storytellers. This playful piece is somewhat hectic and a bit garbled (in speech that can get lost in the reverberations of the Exit's main stage). But it's colorfully worked up (in costuming and properties as well as performances) and no doubt ideal for families or those happy to revel in light insouciance and unyielding silliness.
Sean Andries and Siouxsie Q's Fish-Girl, meanwhile, has limited charm as a carny fable of doomed love between a nerdy young man (Andries, who also directed) and the freak-show beauty (Q, in sequined tail and half-shell bra) he's hooked on. Co-creator Siouxsie Q hosts "The Whorecast" podcast showcasing the voices of American sex workers, and the mermaid's plight takes on literal and metaphoric overtones of sex work. But the bland love story at the center keeps things bathtub shallow, albeit buoyed by a few decent songs belted out by poised songwriter Siouxsie Q to her own accompaniment on the ukulele — that spinet of the well-bred mermaid.
Hard on Fish-Girl's floppy heel came The Women of Tu-Na House, completing the evening's sub-sub-theme of the aquatic erotic. (For cross-referencing purposes: Another bartender's tale, with fish tails too, stood out in the program but was not seen in time for review: Alexa Fitzpatrick's sushi-restaurant confessional, Serving Bait to Rich People.) Nancy Eng's solo is a smart, sassy, and blushingly frank account of the workers at an Asian massage parlor. Although Eng's characters are not always readily distinct, she marshals an unexpected angle and winning élan in bringing this worthwhile story to life.
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