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.
Tom Ross inaugurated Berkeley’s Aurora Theatre Company with Barbara Oliver in 1992 and served 12 years as Managing Director. In 2004, he became Artistic Director, holding that position 15 years. He stepped down last August.
Tom oversaw both Aurora’s move into the Addison Street space and the expansion into the Dashow Wing. He created the new play initiatives, “The Global Age Project” and “Originate+Generate” as well as the second performance space, Harry’s Upstage.
He directed 30 productions for the company.
Additionally, Tom wrote and directed the long running A Karen Carpenter Christmas, and for 8 years was a producer of SF’s Solo Mio Festival.
Before moving to the Bay Area, Tom worked 8 years at NYC’s Public Theater as Executive Assistant to Joseph Papp and then as co-director of Play and Musical Development.
Getting any time on Mr. Ross’ calendar is a tough ask, so we at ASR were grateful for his time, his humor, and his candor. Ladies and Gents… Mr. Tom Ross…
ASR: What’s the weirdest thing you’ve seen a guest do at the theater?
TR: A married couple stopped a performance of Neil LaBute’s “This is How It Goes”, shouting at the actors and audience that this is not a play that should be presented in Berkeley.
It is a purposely provocative play that uses the N-word and is about a smiling secret racist character. The play was going to be over within three minutes. The couple walked across the stage and told the actors that they didn’t have to debase themselves this way. The audience thought it was a part of the play.
Luckily, the incident was written about in the Chronicle and the play became a must-see. The Chronicle called it one of the 10 best plays of the year. Still I’d never seen anything like the reaction it caused. I was the director and in the house.
ASR: Which person has had the largest impact on your professional development in the theater?
TR: Unquestionably, the great producer Joseph Papp who I worked for at the Public Theatre in NY for 8 years. First as his Executive Assistant and then as Co-Director of Play and Musical Development.
He told me that I should be a director.
He supported me in producing my first show and in writing my first show at the Public Theatre. I told him he gave me a spine and he liked that.
ASR: If someone asked to be your apprentice and learn all that you know, what are three things you would tell them are essential to know?
TR: Well… I’ve worn a significant number of theatrical hats. In general, I’d say understand the business as well as the art.
Only get involved in projects you truly believe in.
And it’s a collaborate art. Treat your collaborators with respect.
ASR: How do you relax before a performance?
TR: Thai food and a glass of pinot grigio.
…I told him he gave me a spine and he liked that.
ASR: If you were arrested with no explanation, what would your friends and family assume you had done?
TR: Lied about my age.
ASR: What theater-related friendship means the most to you? Why?
TR: That is a (tough) question to answer (specifically.) I am a part of an incredible community here in the Bay Area. I know they have my back – as do so many theater friends from the NYC days.
I keep wanting to jump off Facebook, but would miss keeping up with them. I respect and love my friends.
ASR: What three songs are Included on the soundtrack to your life? And why each?
TR: Wow! I am a music person. I have hundreds of CDs here in my place. I listen to music all of the time – even at Aurora Theatre I’d be constantly DJ’ing in the office.
The other day, during this shelter in place, I was listening to “The Only Living Boy in New York” by Simon and Garfunkel – “Tom, get your plane ride on time…” – and it really touched me deeply.
ASR: Which one fashion accessory do you like better than others?
TR: The beautiful Hawaiian shirts I have bought in Hawaii over the years.
ASR: Which play would you like to see put into deep freeze for 20 years?
TR: I don’t know about 20 years, but the programming of Broadway producers seems extremely repetitive.
A few years ago, I was in Times Square looking at all of the marquees and billboards and I thought I was in a time machine. Hello 70’s and 80’s!
ASR: Shakespeare’s most underrated play? Why?
TR: Although I think that “King Lear” is the greatest play ever written, I don’t do Shakespeare.
ASR: If you had to do a whole season performing one of the following technical theater roles: Light, Props or Costumes which would it be and why?
TR: I’d be a Light Designer. Like Sound, it’s so ephemeral and can be devastatingly effective.
I like the subliminal. Lights and sound for me.
ASR: What would be the coolest animal to scale up to the size of a horse?
TR: I’d be terrified of scaling up any animal! If my cat was that big, we couldn’t share the bed and she’d be extremely annoyed. I’d be sleeping on the floor!
ASR: Shark diving, bungee jumping, or skydiving?
ASR: What was the first play you performed in or directed for a paying audience?
TR: “Indecent Materials” by Larry Kramer. I’d brought it to the Public Theatre who produced it and then did it here in SF with my producing partner Jayne Wenger when I first moved here.
It featured my first leading lady (and still dear friend) Anne Darragh as Jesse Helms.
ASR: Favorite quote from a movie or stage play?
TR: “Fasten your seat belts. It’s going to be a bumpy night.”
Kris Neely launched Aisle Seat Review in 2015. He is the Publisher and Editor-in-Chief of ASR. Mr. Neely is also an SFBATCC Best Director Award Winner (2013). He is also the founder and publisher of Cresting Wave Publishing, LLC at www.gocwpub.com