ASR’s Not So Random Question Time: Leading Light of the San Francisco Stage, Susi Damilano

Aisle Seat Review and our readers are enjoying a new series of question-and-answer interviews with prominent Bay Area theater people.

Our goal is not to subject you the reader to extended portentous sermons of the guest’s views on Russian translations of lesser-known Mamet flash drama (is there such a thing?)

Too often the people who guide and make theater in the Bay Area are behind the scenes — fast-moving denizens of the curtain lines who mumble into microphones while invariably (always excepting Carl Jordan’s beret collection…) dressed head-to-toe in black.  These interviews allow you, the reader, to get to know these amazingly talented people a bit more, as…people.

Offering some personal and professional insights: with a heavy dash of humor, this is Aisle Seat Review’s Not So Random Question Time.


Susi Damilano

Actor/director/producer Susi Damilano is Producing Director of the San Francisco Playhouse, co-founded with husband Bill English, the company’s Artistic Director. In its seventeen years SF Playhouse has grown from relatively obscurity to one of the city’s preeminent theater companies. Damilano is a five-time recipient of the San Francisco Bay Area Theatre Critics Circle (SFBATCC) ‘Excellence in Theatre Award for Principal Actress in a Play’ for Playhouse productions “Abigail’s Party,” “Harper Regan,” “Bug,” “Six Degrees of Separation,” and “Reckless.”

She has also performed in many other leading roles, in addition to directing Playhouse productions of “Groundhog Day the Musical,” “Cabaret,” “Mary Poppins,” “Noises Off,” “She Loves Me,” “Stage Kiss,” “Company,” “Stupid Fucking Bird,” “Into the Woods,” “A Behanding in Spokane,” “Den of Thieves,” “Wirehead” (SFBATCC nomination).

Damilano also directed the West Coast premieres of “Honey Brown Eyes” (SFBATCC nomination), “Dead Man’s Cell Phone,” “Coronado,” “The Mystery Plays,” and “Roulette,” and the world premieres of “On Clover Road” by Steven Dietz, “From Red to Black” by Rhett Rossi, and “Seven Days” by Daniel Heath. As will attest anyone who’s been to one of the Playhouse’s legendary opening nights, she is also a world-class caterer.

ASR: How did you get started in theater?

SD: When I was 27 I visited a friend in London. She told me that while she was at work during the day, to go to Leicester Square and get a half price ticket to anything. I did, and saw my first professional play, “Les Miserables.” I was hooked. The next day I saw “42nd Street.” Wow! That began my love for theater—the magic of seeing someone jump off a bridge to their suicide, and ‘knowing’ he must have landed on the floor, and believing he landed in water. Beautiful.

Our focus is on how plays impact the audience…

ASR: What was the first play you performed in or directed for a paying audience?

SD: The first play I performed was called “Coming Attractions” at City Lights Theater. I got to play tons of different parts, sang and danced and had so much fun. Wendy Wisely took a chance on me and because of her, I was accepted into the Bay Area acting world.

ASR: How many theater companies have you been involved with?

SD: As I was learning my craft I took jobs anywhere around the Bay: City Lights, Town Hall, CenterRep, Actors Theatre, Phoenix Theatre, Bus Barn.

ASR: When was your present company formed?

SD: We had our first show in 2003.

ASR: Did you anticipate that it would become as successful as it has?

SD: We dreamed of what we could be and decided from the first moment to work as if we were on par with Steppenwolf or Royal Court or Donmar or Almeida … all theaters we admired, and the ones in London that we loved to visit.

ASR: Does your company have a special focus, i.e., genre/historical period, contemporary, experimental, emerging playwrights, etc?

SD: Our focus is on how plays impact the audience, not on any particular topic, niche or type. The goal is to bring people together, to touch and be touched. To share an experience and create compassion.

ASR: Who has had the largest impact on your professional development in the theater?

SD: My husband, Bill English, who is a walking library of dramatic works and knowledge. I learned to direct by sitting next to him for years and observing. My acting work was most influenced by Jean Shelton and Richard Seyd, and my courage has most been influenced by our patrons, who keep coming back and who are in the lobby crying or laughing afterward, confirming that what we are doing makes a difference.

ASR: It will likely be several months until theaters reopen. How is your company coping with the shutdown?

SD: We have the most incredible staff and board and patrons. The shutdown happened the week we were supposed to start previews for “Real Women Have Curves.” Everyone took the news so bravely. Actors lost the opportunity to share a beautiful story, our staff went to work calling ticket holders; ticket holders became donors and supporters. We’ve had to furlough many of our dear staff and are grateful that California unemployment will provide that extra $600 to them. On the other hand, we continued with announcing our season. We did a virtual announcement that has received more views and positive feedback than any event in the past.

ASR: How has the crisis affected your planning for coming seasons?

SD: When we announced the season we did not include dates or actual order of the shows. That certainty is simply not available to us right now.

ASR: How do you envision the future for your company? For the theater community overall?

SD: My vision (hope) is that we will come out of this ‘big pause’ stronger than ever. Our love and need for the arts have been solidified through its absence. The theatre has always been a place where people gather. Spacing, masks, gloves, hand sanitizer will be likely be the norm in the short term.

ASR: Almost forgotten with the pandemic is the crisis caused in the performing arts by the passage of Assembly Bill 5, requiring most workers to be paid the California minimum wage. There are multiple efforts underway in Sacramento to get performing artists exempted from this. Has AB5 affected your theater company’s plans?

SD: It hasn’t impacted our plans other than inducing confusion as to how an artist or designer could be an employee.

ASR: Do you have a “day job?”

SD: I left my ‘day job’ to run the Playhouse in our 12th season. Besides acting and directing, managing the Playhouse is my day job.

ASR: What are your interests outside of theater?

SD: I love spending time with friends and family, and of course, my dog Emi.

ASR: Do you follow other arts—music, film, dance, painting/sculpture? Do you pursue any other arts apart from theater?

SD: I love the arts, and have dabbled with drawing, and film — wish I was a trained dancer and pianist … maybe soon, if we keep staying home.

ASR: You discover a beautiful island on which you may build your own society. You make the rules. What are the first three rules you’d put into place?

SD: The words “no” and “but” are forbidden and to be replaced with “yes,” “and.” Honor the environment and keep it beautiful and strong. Be kind.

ASR: What would be the worst “buy one get one free” sale of all time?

SD: If I wanted to buy one, wouldn’t getting two be great?

ASR: If you were arrested with no explanation, your friends and family might assume you had done what?

SD: Been framed.

ASR: What three songs are Included on the soundtrack to your life? And why each?

SD: My soundtrack is more like the ocean waves, or breeze through the trees.

ASR: A fashion accessory you like better than others?

SD: Bracelets.

ASR: What would be the coolest animal to scale up to the size of a horse?

SD: None. Too big for my house.

ASR: Theater people often pride themselves on “taking risks” — have you any interest in true risk taking, such as rock climbing, shark diving, bungee jumping, skydiving?

SD: When I was younger, for sure. Not anymore.

ASR: Favorite quote from a movie or stage play?

SD: It’s from “The Sound of Music” — “Somewhere in my youth or childhood, I must’ve done something good.”


ASR Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: