To our Dragon Family,
Due to unforeseen circumstances, we are postponing the development of the Dragon’s first podcast presentation of The Creature by Trevor Allen, with permission from the playwright to release in April 2021.
As Co-Artistic Director of the Dragon and Director of this project, this was a very difficult decision to make – especially with the first episode already released.
I want to give this project the attention it deserves and give you, our trusted and supportive Dragon family, a professionally-produced podcast. The timing wasn’t right this time around. However, when we pick up production in 2021, we’ll come back stronger as a team with a kick-ass, professional podcast that’s sure to captivate you as it has captivated me.
As I told my cast and crew, I find myself just as taken with the story and desire to bring this story to life as Victor Frankenstein was in giving the Creature life.
To that end, with Mr. Allen’s permission, we are planning on a new release come April 2021.
Despite the production pausing, we’re compensating all artists (cast and crew) as contracted. The Dragon takes pride in being transparent, and it’s our mission to continue paying artists through the pandemic and beyond. There is already enough uncertainty in this world – getting paid for your work shouldn’t share that same uncertainty.
I want to thank you all for your patience and for keeping up with Dragon’s events during these chaotic times. And for those of you who have contributed monetarily to the theater, words cannot describe the gratitude we feel.
My mother always told me that one door shuts, another door opens – and that’s certainly the case here! While I am devastated to halt production, I am beyond proud of my Creature cast and crew, and I’m so thankful for our patrons and the support we’ve received. We’ve learned so much about producing podcasts and other types of virtual projects (you can check them all out here!), and I’m so excited for what the future holds.
Only together can we help the arts thrive!
To better days,
Alika Ululani Spencer-Koknar
(Director and Co-Artistic Director)
The Director’s Note:
I am still experiencing waves of disbelief that I am making my directorial debut amidst this dumpster fire of a year; 2020. However, I am equally blown away by the righteousness of playwright, Trevor Allen and fellow Co-Artistic Director, Bora “Max” Koknar for seeking to continue producing theatre art despite the obstacle of not being able to convene in person. I’m truly grateful to still have the opportunity to create and tell this classic story with a group of talented artists. So, thank you both for believing in me.
Ever since I first read Trevor Allen’s radio play, The Creature, I fell in love all over again with Mary Shelly’s classic horror, sci-fi story. Never have I come across an adaptation of Frankenstein that truly gave the audience an in depth look at the complexities of not only Victor Frankenstein and Captain Walton, but also of Victor’s tragic Creation. The Creature gives a balanced dissection of all three “men” and the consequences of their actions. The script also stays true to the novel in that the story unfolds through just these three men’s perspectives. The nature of it being a radio play made the transition into a podcast platform really a no brainer. The challenge then really was giving this epic adventure the right kind of support for a purely dramatized acoustic performance. With the help of some extremely talented actors and some equally talented sound engineer and sound designer/composer, the pieces all fell into place to render the listener a truly moving experience.
Bora “Max” Koknar (The Creature) (he/him/his) is a Turkish-born actor, director, writer, educator, producer and the Co-Artistic Director of the Dragon in Redwood City, CA. Over a professional career of 15+ years, Max has entertained over 500,000 people as a performer; produced a touring program serving over 100,000 children a year across the west coast; founded an education program designed to increase language fluency and communication skills of 100s of at risk youth in partnership with local elementary schools and the Ohio State University; presented lectures at venues including UC Berkeley and Developer Week 2020; created site specific and immersive experiences entertaining 1000s of people in partnership with venues including the SF MOMA, Fort Mason, and San Jose Japan Town with Epic Immersive and collaborated with international tech giants such as Google, Apple, Facebook, Box, Intuit, Genentech, and Paradox Interactive as director, performer, executive coach, training facilitator and experience designer. Max would like to say that Black Lives Matter, and that he is grateful to be able to keep making art to serve his community.
Filip Hofman (Captain Walton et al)(he/him/his)
Paul Rosenfield (Victor Frankenstein)(he/him/his)
Paul returns for his sophomore production with the Dragon, where he previously acted in Equivocation. Most recently, he starred in Silicon Valley Shakespeare’s Macbeth. Still new to the theatre world, Paul’s only other credit is a staged reading of The Life of Galileo at the Stanford Repertory Theater. When he isn’t acting, Paul works as a Data Scientist for a San Carlos-based startup called the Farmers Business Network.
Trevor Allen (Playwright) is an award winning Bay Area playwright. Productions include: Lolita Roadtrip (San Jose Stage Company), The Creature (Black Box Theatre Company, Bay Area Critic’s Circle award) Tenders in the Fog (San Jose Stage Company, Dean Goodman Award, Original Script), Working for the Mouse! (Impact Theatre), 49 Miles (Crowded Fire Theater), Chain Reactions, (Theatre of Yugen, CAFÉ and The Cutting Ball). He received a San Francisco Arts Commission grant for his play, Zoo Logic. He is a Bay Area Playwrights Festival alumni and his play, One Stone (Einstein), a collaboration with Lunatique Fantastique was developed through their “Incubator” and “In the Rough” programs. Two of his plays have received the SF Fringe Festival’s “Best Of” awards. His short play, Mamlet, won American Conservatory Theatre’s “Mamet” contest. He received PlayGround’s Emerging Playwright Award, Playwriting Fellowship and two Alumni full length play commissions for Lolita Roadtrip and Golden Gate Fair. He was a Playwright in Residence at the Djerassi Resident Artists Program. He is currently working on scripts for Valley of Sand, a new play about Silicon Valley originally commissioned by San Jose Repertory Theatre and PlayGround, A Treasured Island, his adaptation of Robert Louis Stevenson’s novel set in a Children’s hospital and other projects. A book length collection of five of his professionally produced plays was recently published by EXIT Press. He holds a BA in Theatre from UCLA and a MFA in Creative Writing from SFSU. He is a member of the Dramatist’s Guild of America.
Alika Spencer-Koknar (Director) Alika is eager to make her directing debut with the Dragon and with such a classic story along with a group of phenomenal artists. Creating during this pandemic has its challenges, and Alika is honored to keep the spark of creation alive during these unprecedented times and is bursting with pride for her skillful and gifted team behind this podcast. Alika is a Bay Area native and graduate from Pacific Conservatory Theatre in Santa Maria CA. She is Co-Artistic Director of Dragon Theater with her husband and creative partner, Bora “Max” Koknar. Her past credits include, Princess Leia in The Star Wars Trilogy: Live, Euphonia Riggstone in Shoggoths on the Veldt, Judith in Equivocation, Boshka/Magda Goebbels in Cirque Exotique Du Monde with Dragon Theatre, with Northside Theater Company as Maureen in The Beauty Queen Of Leenane, with City Lights as Johnna Monevata In August: Osage County with City Lights Theater Company and Alice Bloomfield in Kinan Valdez’s production of Zoot Suit with El Theatro Campesino. Alika would like to say, Black Lives Matter and thank you for supporting the arts, I am grateful to serve you.
Gregory Holmes (Sound Engineer) Greg is a freelance sound and lighting technician, working in the South Bay Area with local school districts and theatre companies to improve the performance quality and production value of various concerts, musicals, and operas.
Lana Palmer (Sound Designer and Composer) Lana is a Canadian-born, San Francisco-based sound designer and composer. She is pleased to return to Dragon Theatre, where her previous credits include Race, Hickory/Dickory, and The How and the Why. Other recent credits include King Lear (SF Shakespeare Company) The Humans (San Jose Stage), The Daughters (SF Playhouse/World Premiere), Bull in a China Shop (Aurora Theatre), and School Girls; or, The African Mean Girls Play (Kansas City Rep/Regional Premiere). As a composer, her music is heard on over 100 shows airing worldwide.
Miranda Whipple (Stage Manager) has worked as a props designer and stage manager in the Bay Area for the past five years. Recent Dragon productions include Hickorydickory, Confession, and The Baltimore Waltz. She has also worked at City Lights Theatre Company, South Bay Music Theatre, Los Altos Stage Company, and Silicon Valley Shakespeare. Other stage management credits include Rosencrantz and Guildenstern are Dead (American Conservatory Theater), 1984 (Los Altos Stage Company), and La Llorona (Opera Cultura). Miranda was recently named as a TBA finalist for Outstanding Properties Design for her work on Mothers and Sons. She is a proud graduate of the Cal State University, Fullerton theatre arts program.
Maggie Ziomek (Graphic Designer) is a graphic designer, illustrator, and copywriter, who has been designing and producing show art for Dragon Theatre since 2015. In 2019, she designed the identity package for Redwood City Youth Theatre, a collaboration between Broadway By The Bay and Dragon Theatre. She is also the creative behind Dragon’s new print and web brand, positioning Dragon Theatre as a cultural hub in Redwood City. Need some design work? Contact firstname.lastname@example.org