Mission

The Cutting Ball’s mission is to develop productions of experimental new plays and re-visioned classics with an emphasis on language and images.

• We create art that exercises and enriches the imagination of our audience.
• We strive to honor and move forward the history of avant-garde theater.
• We produce our theater with the highest level of professionalism, excellent production values, innovative writing, and deeply committed performances.
• Through our productions, we seek to reveal a poetic truth as opposed to a realistic one.  We work to find design strategies and performance styles that best express the poetry of our plays.
• We are committed to exploring Shakespeare’s canon and to finding ways of making his work feel fresh and new to contemporary audiences.
• We provide an artistic home to playwrights, directors, actors and designers interested in challenging themselves and deepening their work through experimentation and a rich sense of process.

Programs

Full Productions Full productions of plays from our list of future possibilities. These productions are usually developed from Risk is This… or from our workshops and readings.

The Hidden Classics Reading Series Readings of rarely scene classics followed by a discussion

Risk is This – The Cutting Ball New Play Festival Staged readings of three experimental new plays with a team of designers and actors working to discover production strategies that best realize these innovative pieces. Also a try-out for a possible full production at the Cutting Ball or elsewhere.

Avant GardARAMA! An evening of short experimental plays given a full production and a five-week run.

Workshops & Readings A chance to test out a piece before it is chosen for a major production:

Open Process Workshops of productions being developed for a future season

About Us

The Cutting Ball Theater was founded in 1999 by theater artists Rob Melrose and Paige Rogers. After their training at the Yale School of Drama and Trinity Rep Conservatory respectively, Melrose and Rogers spent a year in Europe on a Fox Foundation Grant to observe master directors in France, Germany, Italy, and Austria. Upon returning to the United States, the couple debated about where to found a theater company with the goal of creating work of the same daring, rigor, arresting design and production values as the plays they had seen in Europe. They narrowed it down to New York, San Francisco, Minneapolis and Providence and ultimately chose San Francisco for its rich history of experimental art and commitment to the arts. Ironically in the same year as The Cutting Ball’s founding, Steve Winn wrote an article in the Chronicle titled “Experimental Theater Loses Its Edge,” which bemoaned the loss of companies like George Coates Performance Works, the Fifth Floor, and Antenna Theater, as well as the general lack of experimental work in a town that launched the careers of Sam Sheperd, Robert Woodruff, Karen Finley, and Joe Chaikin. The Cutting Ball arrived in San Francisco at just the right time to fill an important niche.

Since its first presentation in the San Francisco Fringe Festival, Cutting Ball’s output has grown steadily.It now presents a four-play season in residence at EXIT on Taylor conveniently located just two blocks from the Powell Street BART.In addition, Cutting Ball produces Avant GardARAMA!, which features several short, experimental works (by writers such as Richard Foreman, Mac Wellman, Suzan-Lori Parks, Eugenie Chan, Heiner Müller, and Gertrude Stein); an ongoing play-reading series of rarely produced classics called Hidden Classics and Risk is This . . . The Cutting Ball New Experimental Plays Festival. Ours is one of the only festivals in North America calling exclusively for experimental work. Risk is This . . . The Cutting Ball New Experimental Plays Festival features three selected plays which are workshopped for a week and then staged before an audience at the EXIT on Taylor.Risk . . . has developed plays that later received their world premiere at The Cutting Ball Theater such as Bone to Pick by Eugenie Chan and The Vomit Talk of Ghosts by Kevin Oakes as well as plays that were later fully produced by other theaters such as Trojan Barbie by Christine Evans (American Repertory Theater, Cambridge), The Vomit Talk of Ghosts by Kevin Oakes (The Flea Theater, New York) and Chain Reactions by Trevor Allen (C.A.F.E., San Francisco). Through Hidden Classics as well as its full productions, Cutting Ball has created a number of new translations of important classics such as Rob Melrose’s translations of Büchner’s Woyzeck, Sartre’s No Exit Jarry’s Ubu Roi, Maeterlinck’s Pelléas and Mélisande and Paul Walsh’s translation of Strindberg’s Burned House. Cutting Ball’s radical re-imaginings of Shakespeare’s plays (such as The Taming of the Shrew, and As You Like It) have garnered both critical and audience acclaim.In the ten years since its founding, The Cutting Ball Theater has gained important recognition for its contributions to theater in the Bay Area and beyond, including a “Best of SF 2006″ from SF Weekly, “Best of the Bay 2007″ from San Francisco Magazine, and a SF Bay Guardian “2008 Goldie Award” for excellence in theater.

Company

Leadership
Rob Melrose, Artistic Director
Paige Rogers, Associate Artistic Director

Staff
Amy Clare Tasker, General Manager
Yesenia Sanchez, Financial Manager
Meg O’Connor, Literary Manager
Amy Leeper, Box Office Manager
Sonia Fernandez, Group Sales Manager
Megan Cohen, House Manager
Nakissa Etemad, Resident Dramaturg
Ryan Durham, Web Designer
Erica Lewis-Finein, Publicist

Associate Artists
Carlos Aguilar, designer
Adriana Baer, director
Raquel Barreto, designer
Heather Basarab, designer
Felicia Benefield, actor
Cliff Caruthers, designer
Eugenie Chan, playwright
Chad Deverman, actor
Ponder Abra Goddard, actor
Michael Locher, designer
Cat Lum, actor
Avery Monsen, actor
Ryan Oden, actor
Danielle O’Hare, actor
David Sinaiko, actor
Debra Singer, designer
David Westley Skillman, actor
Lucia Scheckner, dramaturg
Jason Wong, actor