Single and private performances are not posted.
Sid Star, comic
Rubin Steinway, pianist
Beatrice O'Kay, singer
Will Wizard, magic
Cora, shy bird
and company. !
Loads of fun, variety entertainment with volunteer artists. Website is under construction.
A behind the scenes frolic with the first two institutions to emerge in community; theatre and religion.
Theatre was first!
Drama, frivolity and puppets collide pulling your strings. Writer and ventriloquist, Ron Coulter, invites you to a skirmish that delights and amazes with edgy humor, surprising insight and a promise.
"You may never again believe in belief."
Expect both hilarity and heresy as you discover why it is better to live religiously than live a religion.
"Charming, accomplished and lots of fun... a master ventriloquist... Ron and Sid are a great team, but who's doing the talking?"
Christina Augello, Artistic Director
The EXIT Theatre, San Francisco
SHORT BIO: Performing for over 50 years Coulter and Sid Star have appeared nationally, toured the Pacific Rim for the U. S. State Department and the U.S.O., taught college theatre, directed hundreds of productions and workshops, and operated Oakland's Myth and Magic Factory. Coulter and Star premiered Last Act For Walter Gordon, a play for actor with puppet. Ron authored a book entitled "Encounter With A Believer." His novel, Million-Dollar Je$u$, is available on line. www.mdjesus.com
JIHAD for VENT and DUMMY
Frigid Theatre Festival, New York City
San Francisco previews, The EXIT Theatre
Written and performed
by Coulter and Star ventriloquists
A deadly puppet skirmish. Theatre, frivolity and horror collide. Welcome to the Ruby Lounge - a shocking confession. Actor/ventriloquists Ron Coulter and Sid Star say, “You may never again believe in belief or other weapons of mass distraction.”
“I really enjoyed the concept of this show... Jihad for Vent and Dummy is a thinking person's vaudeville act... Coulter is a talented ventriloquist... I enjoy being challenged..."
“...polished and accomplished comedy duo... pulled off one of those magic theatrical moments as they set up and then deconstructed the whole premise... had the audience transfixed. It was one of those rare moments when puppetry shows what it can do and then goes a step further, showing you what it can't do, all the while doing it.”
Michael Nelson, President
San Francisco Bay Area Puppeteers’ Guild
“...excellent, thoughtful and focused... the esoteric complexity of JIHAD is real theatre that just happens to have a man and a puppet as the actors... it's groundbreaking material.”
“...courageous and thoughtful; funny!”
Sherry Engle, Associate Professor of
peech and Theatre
Borough of Manhattan Community College
“It was excellent. Either unfortunate or AMAZINGLY GENIUS.”
Chris Stave, New York City
“...phenomenally well-acted, short and disturbing... Coulter’s adept puppetry and acting... makes ‘Jihad’ worth seeing. “
Last Act For Walter Gordon
Written and Performed by Coulter and Star
Fall 2003, San Francisco, CA
Walter, a very old man of unpredictable physical and mental health, is about to be taken to a hospice by his son. He wanders into the attic, confronts aspects of his life and discovers his old ventriloquist puppet. What they have to say to each other and what happens after so many years apart is both touching and surprising. Events become surrealistic. An ancient unplugged radio comes to life. An old phone rings and he talks to himself at various times in is life.
Poetry of Event Theatre Workshop
Theatre developed first in society - religion next. When they are creative, about new forms and abundant life, theatre and religion are born of the same essential human dynamics and urge the same action of mind and spirit. When they are not creative one is show business and the other superstition. Coulter & Star lead.
During this playful two hour participatory workshop one engages content before it is verbalized, laughs, all mime, enjoy puppets and explore dynamics that validate acting.
Million-Dollar Je$u$ - Novel
This adventure imagines the events and discoveries during actor James Greyson’s preparation to portray Jesus on stage. The conservative producer wants the best Jesus money can buy. He provides time and funds for the actor to explore the holy land, encounter renowned scholars, visit archeological sites, advance his performance skills and open to the unexpected.
Unknown to the producer or the actor, an ancient community works secretly to shape events. Their efforts are complicated by the actor’s developing affection for Marva, a member of the mysterious society. The novel shifts between performance and the events that influence James’ interpretation. Read about the play in Dramas.