Into the Light: Author Samantha Rose’s ‘Giving Up the Ghost’ Event at OCA

Grief leaves its mark in silence, in questions, and sometimes—in stories. 

When Susan Swartz died by suicide in 2020, the columnist’s daughter, bestselling ghostwriter Samantha Rose, began writing through the pain. The result is Giving Up the Ghost: A Daughter’s Memoir, a book released earlier this year—the fifth anniversary of Swartz’s death.

This Sunday, Rose brings the book to Occidental Center for the Arts for an afternoon of readings and conversation.

The book is a raw, unflinching examination of grief, identity and family legacy. It’s also Rose’s first book under her own name after penning 17 for others as a ghostwriter, which adds another wrinkle to how readers might perceive the memoir’s title.

Giving Up the Ghost began as an exercise to better understand and untangle my mother’s irrevocable choice,” she says. “But as I got deeper into the writing, truths about my own life began to emerge—most notably, that I’d become a ghost in my own life, professionally and personally, and that writing my story was a deliberate step out of the shadows. It challenged me to become visible and use my voice in a way I hadn’t in years.”

That act of stepping into the light—professionally, emotionally and creatively—is central to Giving Up the Ghost. For years, Rose has worked behind the scenes, ghostwriting bestsellers for others, with clients whose names regularly appeared on bestseller lists and in glossy magazines. This time, the story was hers.

“There’s a greater sense of creative freedom in telling your own story (one can say whatever they want), but it’s much more vulnerable and messy,” she explains. “I understood pretty quickly that I wasn’t only exploring my mother’s suicide; I was channeling my grief onto the page. It was important to me to capture my emotional honesty, in its raw and conflicting form, which meant writing without holding back. Because I’m a much more disciplined ghostwriter, I had to trust a more intuitive process—and know that I could edit myself later.”

The result is a memoir that often reads like it’s unfolding in real time. 

Giving Up the Ghost was published nearly five years to the day of my mother’s death, but I started writing about it in real time, as it was all happening in 2020,” Rose says. “I think this is why readers tell me they feel the visceral shock, rage and regret alongside me. Much of the dialogue wasn’t reconstructed, either; I wrote it as I heard it in conversation with my son, my sisters and my grief counselor. In that way, the structure of the story was created naturally.”

For readers who knew Susan Swartz through her local column and activism, Giving Up the Ghost also offers a personal and nuanced view of a woman many appreciated from afar. 

“I admired her and was so proud of her influential career,” Rose says. “When I became a journalist, I continued to regard her as ‘the writer’ in the family, and me as the ghost. As I explore our mother-daughter dynamic in the book, I come to understand that I have a bigger role to play, and Mom encourages me in one of our dream sequence dialogues when she says, ‘I’m the ghost now. It’s time for me to step aside and for you to step forward.’”

The memoir is candid not only about loss, but about what follows: the reckoning, the remembering, the silence that suicide can leave in its wake. 

“I hope it inspires people to tell the truth, to share the scary thing out loud,” Rose says. “For a variety of reasons I explore in the book, my mother didn’t seek the preventative care that may have helped her because she was resistant to engage in an honest conversation about her mental health. I feel that it is my responsibility, given how she suffered, to create an opening to talk about suicide and to remind people that asking for help may be the single act that saves a life.”

The North Bay community has responded with an outpouring of support. 

“The response has been overwhelmingly positive,” she says. “Many people have told me that the book has finally allowed them to heal. Others have said it’s helped them better understand my mother and the complexities of suicide. Some of my favorite notes have been from people who didn’t know my mom and who have reached out to say—thank you for introducing me to Susan.”

Rose, who studied journalism at San Francisco State University and mass communication at Sonoma State University, is also the principal of Yellow Sky Media, a boutique editorial agency in Petaluma. Still, Giving Up the Ghost pushed her beyond any deadline she’d known. 

“I treated this project like all others in terms of practice—I wrote every day for nearly eight months and kept myself on a strict deadline,” she says. “That said, the narrative took many surprising turns along the way, specifically in the second part of the book when I start ghostwriting the ghost of my dead mother by initiating conversations between this world and the next. This channeled writing process provided many aha and insightful moments I hadn’t seen coming, and that eventually helped me to move forward with my life.”

That forward motion continues this weekend—the OCA event falls on Memorial Day, apropos for a book that, in part, explores how we hold the memories of those we’ve lost. 

“I hope it reminds people to remember my mother’s life more than her death,” Rose says. “Her ending was tragic, but it was just one moment, and the 76 years leading up to it were filled with many moments marked by curiosity, great humor and wit, and a deep belief in the power of beauty, fairness and friendship. She would want that to be her legacy.”

Giving Up the Ghost: A Daughter’s Memoir—Reading & Conversation with Samantha Rose goes from 3-5pm, Sunday, May 25, Occidental Center for the Arts, 3850 Doris Murphy Way. Admission is free. Donations welcome. Book sales and signing to follow. For more info: occidentalcenterforthearts.org. More about the author at yellowskymedia.com and instagram.com/samantharose_writer.

Free Will Astrology: May 21-27

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ARIES (March 21-April 19): I think you’re ready to establish new ways of nourishing and protecting what’s valuable to you. Your natural assertiveness will be useful in setting boundaries and securing resources. Your flourishing intuition will guide you to implement adjustments that safeguard your interests while remaining flexible enough to permit legitimate access. Be extra alert, Aries, for when you need to balance security with accessibility. Your best defenses will come from clever design, not brute force. Do what you need to feel secure without feeling trapped.

TAURUS (April 20-May 20): In July 1971, 26-year-old Taurus poet Bernadette Mayer kept a scrupulous diary. Every day, she shot a roll of 35 mm film, wrote about the day’s events and recorded herself reading her accounts. By Aug. 1, she had accumulated 1,100 photos and six hours of readings. One of her goals in doing the project was to learn more about how her memory worked. What was worth remembering, and what wasn’t? She also hoped to gain an objective perspective about her routine rhythm. Years later, she acknowledged that though this was a narcissistic experiment, she had no shame about it. Inspired by Mayer, and in accordance with astrological omens, you might find it worthwhile to lovingly and thoroughly study the details of your daily life for a while. It’s an excellent time to get to know yourself better.

GEMINI (May 21-June 20): Gemini writer Raymond Carver (1938-1988) established a reputation as a master of terse minimalism. One critic noted that he practiced the “Theory of Omission”—an approach to writing fiction that mandates the elimination of superfluous narrative elements. But it turns out that Carver’s editor, Gordon Lish, had a major role in all this. He deleted half of Carver’s original words and changed the endings of half his stories. Years after his death, Carver’s widow, Tess Gallagher, published the original versions, with the omitted material reinstated. I believe the coming weeks will be an excellent time for you to make comparable restorations, Gemini. In every way you can imagine, tell the full story, provide the complete rendition and offer elements that have been missing.

CANCER (June 21-July 22): Even if you don’t regard yourself as a psychic or prophet, I suspect you now have an uncanny knack for deciphering future trends. Your intuition is operating at peak levels, especially when you focus it on the big picture of your long-term destiny. As long as you’re not overconfident about this temporary bloom of expansive vision, you can trust your ability to see the deep patterns running through your life story. To make the most of this gift, take a loving inventory of where you have been and where you are going. Then devote relaxed meditations to adjusting your master plan.

LEO (July 23-Aug. 22): River deltas form where rivers meet the sea, creating fertile and complex ecosystems that nourish abundant life. Some of my favorites are the Rhône River Delta in France, the Po River Delta in Italy and the Shinano River Delta in Japan. In the coming weeks, Leo, I will visualize you as the metaphorical equivalent of a river delta. I’ll call you the Leo Delta, trusting you will be inspired to celebrate and cultivate the rich intersections that characterize your life—areas where an array of ideas, paths and relationships converge. Be open to synergizing different aspects of your world: integrating emotions and logic, connecting with diverse people, blending personal and professional goals.

VIRGO (Aug. 23-Sept. 22): Your natural inclination is to solve problems through detailed planning and careful analysis. On occasion, that process dead-ends in overthinking, though it often works pretty well. In accordance with current astrological omens, however, I suggest an alternative approach for you in the coming weeks. Instead of trying to figure everything out, how about if you simply create a relaxed spaciousness for new things to emerge? Experiment with the hypothesis that progress will come not from doing more, but from allowing more.

LIBRA (Sept. 23-Oct. 22): As they climb, mountaineers carefully assess every handhold and foothold. Unfailing concentration is key. I recommend adopting their attitude in the coming weeks, Libra. You are entering a phase when ascension and expansion will be among your main assignments. The best approach to your adventures is to make steady progress with precision and thoughtfulness. Rushing rashly ahead or taking needless risks could be counterproductive, so be scrupulous about planning and preparation. Trust that the most efficient path to the summit will be via small, deliberate steps. Your winning combination will be ambition leavened with caution.

SCORPIO (Oct. 23-Nov. 21): At age 42, Scorpio painter Georgia O’Keeffe left her busy New York art career and traveled to New Mexico for the first time. The landscape’s beauty overwhelmed her. She wandered around the desert for three months, creating no art at all. A few critics accused her of wasting time. She rejected their ignorant misunderstanding of her process, replying, “To see takes time. I had to learn the country first before it would let me paint it.” Her most iconic paintings emerged after this phase of pure observation. I’m recommending a similar period for you, dear Scorpio. While your instincts may tempt you toward a flurry of activity, I believe now is a time to wait and see; to pause and ponder; to muse and meditate.

SAGITTARIUS (Nov. 22-Dec. 21): By the 20th century, the 483-mile-long Seine River in France was so polluted that most of its fish were gone. But clean-up efforts have been successful. Now there are 32 fish species, including the Atlantic salmon. The Seine is also very close to being completely safe for humans to swim in. I would love it if you were inspired by this success story to undertake a comparable project in your own life, Sagittarius. What would you most like to see revived and restored? Now is a good time to begin the effort.

CAPRICORN (Dec. 22-Jan. 19): Until she reached her 70s, Capricorn visual artist Louise Bourgeois was a peripheral figure in the art world, modestly respected but not acclaimed. Then New York’s Museum of Modern Art presented her work in a major show. In response, The New York Times reviewed her work, saying it was “charged with tenderness and violence, acceptance and defiance, ambivalence and conviction.” I bring this to your attention, Capricorn, because I suspect the coming months will also bring you recognition for labors of love you’ve been devoted to for a while—maybe not in the form of fame, but through an elevated appreciation by those whose opinion matters to you.

AQUARIUS (Jan. 20-Feb. 18): The name of the old Talking Heads album is Stop Making Sense. One of its many implications is that we periodically derive benefit and relief from being free of the pressure to sound reasonable and be consistent. According to my detailed, logical, in-depth analysis of your astrological omens, now is a perfect time to honor this counsel. I hope you will give yourself a sabbatical from being sensible, serious and overly sane. Instead, please consider a sustained pursuit of pure pleasure, fun foolishness and amazing amusement.

PISCES (Feb. 19-March 20): Be on high alert for fleeting intuitions that flow through your awareness. Really good ideas may rise up only briefly and only once, and you should be ready to catch them in the ripe moment before they fade away. Do you hear my urgency? Pay special attention to passing thoughts or sudden insights. They may contain more value than initially apparent. I will even speculate that seemingly ephemeral inspirations could become foundational elements in your future success. Document your hunches, even if they seem premature.

Homework: What meaningful message could you give to a person you hurt? Newsletter.FreeWillAstrology.com

Open Mic: Say It Ain’t So, Ex-Prez Cover Up

President Joe Biden’s recent disclosure of an aggressive, metastatic prostate cancer diagnosis has cast a somber shadow over the Democratic Party. 

The cancer, characterized by a high Gleason score of 9 and spread to his bones, is hormone-sensitive, offering some avenues for treatment. However, this revelation, coupled with the release of the book Original Sin by Jake Tapper and Alex Thompson, which alleges that Biden’s inner circle concealed signs of his cognitive decline during his presidency, has intensified scrutiny over the party’s leadership and transparency. 

As a liberal deeply invested in progressive politics, this moment is both heartbreaking and infuriating. Biden’s tenure brought significant achievements: economic resilience, strengthened democratic institutions and earnest efforts to address climate change. 

Yet, the apparent lack of foresight and contingency planning within the Democratic leadership is alarming. The party’s reluctance to acknowledge and address the aging of its leadership cadre has left it vulnerable, with no clear succession plan or fostering of emerging leaders. Even when we had Kamala Harris—a comparatively youthful 60—we missed the opportunity to ready her (and a campaign) four years ago.

The allegations presented in Original Sin—that Biden’s aides and family members may have obscured his declining health—are particularly troubling. If true, they suggest a prioritization of political expediency over transparency and the public’s right to informed leadership. This mirrors past criticisms of other administrations where health issues were downplayed, undermining public trust.

Moreover, the Democratic Party’s current predicament underscores a broader issue: the need for a dynamic and forward-looking leadership pipeline. The absence of prominent, younger voices ready to step into national leadership roles is a glaring deficiency. Progressive politics thrives on innovation, inclusivity and adaptability—qualities that must be reflected in its leadership.

In this critical juncture, the Democratic Party must undertake a candid assessment of its leadership strategies. This includes fostering transparency regarding the health and capabilities of its leaders, actively developing and promoting emerging talents and ensuring that the party’s future is not tethered to the legacy of a single individual. The stakes are too high, and the challenges too significant, for complacency.

Micah D. Mercer lives and loves in the North Bay.

Community Centered, Vanessa Rognlien of Sonoma

Four sure weeks after Sonoma Trash Fashion 15 (the Bohemian’s April 15 cover story, “Trash into Treasure”; see link at end), I returned to Sonoma Community Center with a question on my mind.

I have long held the Sonoma Community Center to be an example-exemplar of a community venue fully realized in its potential. There aren’t enough venues—that’s damnably true. 

But the equally challenging problem is that most of the venues that are, are only half and quarter realized in their community-building potential (read it in their calendars; read it in their vibes).

The community at The Center is not only capable of mounting high spectacle like the trashion runway (organizing many hundreds of people and many thousands of volunteer hours), but they manage to pull it off within a homey atmosphere. 

On my first visit to the center, I saw children running in hand-stitched felt dance costumes, heard the muffled sounds of musical scales through woodwork and smelt Italian cooking (from a class) pouring forth its fragrance.

From the first, I wanted to make The Center a home. Because it is a home. Returning to The Center now, I had come to ask executive director Vanessa Rognlien how they do it. So we all can know. Community is what we need right now.

Passing a lively class printing paper with dead fish (and shrimp) pressed in Japanese ink, I found the office. To my surprise, I found Rognlien working in a windowless cubicle, cornered within an open plan office shared by all the senior staff.

She is a handsome woman of middle years. While having the cornerstone solidity of a leader, her manner is open, gracious and familiar. I liked her from the start. Her nonprofit background is in youth arts, and interestingly in jail deferment programs in the arts for juvenile offenders.

Cincinnatus Hibbard: Vanessa, in addition to its event calendar, The Center hosts a great many classes. Within those classes, what expressions of community do you see?

Vanessa Rognlien: To take just one example, a program that we are very proud of is the fiber arts happy hour that meets every Wednesday. People come, they can make a donation, they can bring food to share. They bring something to work on or Jill [Valavanis] can help find them something to work on.

And they are in community, crafting—making things together, talking and sharing, helping and supporting each other—building relationships. And if someone doesn’t show up, you can bet someone is on the phone calling: Where are you today; are you OK? It’s a cross-generational, diverse group of people in that room, younger people learning technique from older people, younger people sharing energy and new ideas.

Events, institutions like that used to hold community together. And we don’t have that as much anymore. It’s what we need.

I think the ideal community is modeled on the ideal family, which is multi-generational. Many local events are in effect age-segregated into young or old. I hear you have a great team running your programs. Tell me about your team.

We have an incredible team of people right now. And that allows us to have the strength in programs that we have. As director, I want people to pursue the things that they love, so I let them run with their passions.  It means that they will put in the time and effort needed to make a program grow to fruition. If they say, “The community needs this,” I trust them. We are flexible enough and nimble enough to make that happen.

Learn more: linktr.ee/sonomacommunitycenterLINKS.

Indie Again, James Hall of Patz & Hall Winery

It might be surprising to learn that a driving impetus behind Sonoma County wine venture Patz & Hall Winery bloomed in Santa Cruz in the late 1970s.

Founder and owner James Hall was a UCSC slug back then, and a sip of wine he took at the restaurant he worked in served as a lightbulb moment. Fast forward a few decades to 2024, when Hall reclaimed the label’s legacy by repurchasing the winery following eight years as part of Ste. Michelle Wine Estates’ corporate portfolio. 

Amber Turpin: How did you get into this work?

James Hall: I got interested in wine while working at restaurants during my college years. I noticed that folks that ordered wine seemed to enjoy their meals more. They definitely had more fun. That intrigued me, and led me to eventually attend UC Davis and study fermentation science.

Did you ever have an “aha” moment with a certain beverage? If so, tell us about it.

Yes, a glass of 1978 Meursault Charmes that I got to taste when I was working at a restaurant in Santa Cruz. I tried it with my shift meal, and it absolutely blew me away. I didn’t realize wine could be that good. I went home and looked it up in Hugh Johnson’s World Atlas of Wine, which set me on the path of wine discovery that I’m still on.

What is your favorite thing to drink at home?

Wine. Often Patz & Hall, but I drink a lot of other things. In no particular order: Burgundy, Northern Italian, Bordeaux, Spanish reds, Champagne and German riesling. To be honest, I love the diversity of wines.

Where do you like to go out for a drink?

My favorite place, hands down, is called Folklore. It’s a newer place in downtown Napa. It’s a bar, wine shop, record store, restaurant and FM radio station. The wine scene is incredible; so many treats from the classics to the uncommon. The bar has the best cocktails in Napa. The owners are great, and I could spend all day there.

In Sonoma County, I’m a big fan of Russian River Brewery, as they have an incredible range of super well-made beers. Pliny the Elder is always in my fridge, but I love to go to the brewery and catch up with their Belgian-style ales, many aged in wine barrels. 

If you were stuck on a desert island, what would you want to be drinking (besides fresh water)?

Grand Cru Burgundy and Hyde Vineyard Pinot Noir … and some vintage Champagne for when I was feeling lonely, as well as the occasional bottle of Château Haut-Brion Blanc when the fishing went well. Perhaps a bit of XO Cognac for Friday nights when the stars come out.Patz & Hall, 21200 8th St. E., Sonoma. 707.265.7700. patzhall.com.

Culture Crush, 5/21

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Healdsburg

Bombay in the North Bay

Ready to be transported into a world of storytelling and conversation? If yes, then The 222 is the place to be when the internationally bestselling author, Alka Joshi, takes the stage to discuss her latest novel, Six Days in Bombay. Joshi is perhaps best known for the Jaipur Trilogy, which took the world by storm. Now, she’s bringing that global appeal, fame and storytelling mastery to our local venue, where one can attend a bestselling author talk right here in the North Bay. The evening includes a reading, an intimate conversation about her creative journey and time for audience Q&A.

Join Joshi and like-minded bookworms from the Sonoma community in the can’t-miss conversation on Saturday, June 7 at THE 222, located at 222 Healdsburg Ave. in Healdsburg.

Fairfax

From Tam to Taz

Fairfax is like the cool older sibling in Marin, or the auntie who comes to the holidays with outrageous outfits, opinions and gifts everyone loves (though the real gift is their presence alone). And in early June, it’s officially time to celebrate Fairfax culture with the Fairfax Festival and Ecofest … or should I say the Fairfax Faire? This event has everything from art to music to food to the real draw, the people who comprise the local community and make this iconic cultural hubbub into a living, breathing thing.

The Tazmanian Devils will perform in a free-to-attend concert at the Fairfax Festival from 1:30 to 2:40pm on Saturday, June 7 in downtown Fairfax. Visit tazmaniandevils.net to learn more.

Santa Rosa

Partay at the Library

You, me, a free-to-attend festival at the local library—sounds like fun, right? I thought so. So, now we all know about the upcoming Lectura Fest, a family-friendly festival that has everything from live performances to entertain guests all afternoon; face painting to get festive and transform into a tiger, lion or bear (oh my); photo booth to record that animalistic painted transformation; and hands on activities to dig into while we wait for the paint to dry. Oh, and of course, this festival will have food enough for a hungry, hungry face-painted hippo or two too.

The festival will take place from 1 to 4pm on Saturday, June 8 at the Central Santa Rosa Library.

Muir Beach

51 Years of BBQIt’s time to pack a cooler, call the carpool and get that tailgate into gear, because the 51st annual Muir Beach Volunteer Firefighters’ Barbecue is almost here. This family-friendly Marin tradition is full of all the best things in life, including food, wine, beer, live music and oh so much more joy and good cheer. This year’s BBQ is extra special, since the Muir Beach Volunteer Fire Department is all set to build a brand new firehouse on the Muir Beach Overlook. In other words, more resources for the firefighters who volunteer their time and energy to keep Marin safe from unexpected flames. As we head directly into fire season, now is a great time to show some appreciation to our firefighters.

The volunteer firefighter BBQ will take place on Sunday, May 25 over the Memorial Day weekend at Santos Meadow near Muir Beach and Muir Woods. Visit muirbeachfire.com for more info.

Your Letters, May 21

Fixing Forests

I just visited the redwood country and wilderness forests that stretch from the cool coastal range to snow-topped alpine ridges in the interior mountains in Northern California. Hiking through groves of redwoods adorned with bouquets of trillium and along clear rivers ringing with birdsong from tiny hidden warblers, I felt at times like I was in paradise.

But then I’d come upon massive redwood stumps that were cut generations ago still standing. Heading into the famed Headwaters Preserve, the newer growth didn’t hide the past devastation. The fragmented groves of ancient redwoods in the national parks often felt like tree museums. In fact, the Tall Trees Grove on Redwood Creek requires a permit for entry past a locked gate.

Heading into the Smith River, Scott River and Trinity Alps, I was taken by the rugged landscapes and powerful waters but overwhelmed by the miles of burned lands. Some places were recovering with green and wildflowers. Other expanses were spoiled by salvage logging where giant scorched logs were abandoned and massive slash piles left behind.

After seeing all this, I realized the urgency of halting the Fix our Forest Act moving toward passage in Congress. The bill authorizes more logging and less environmental protection in our forests and is key to the log-baby-log mantra coming from The White House.

We need our State Senators Alex Padilla and Adam Schiff to oppose this bill and rally their colleagues to defeat it. If not, they will allow the beauty of our forests to be finally and forever turned into the beasts of industry.

Teri Shore
Sonoma

We appreciate your letters to the editor—send them to le*****@******an.com and le*****@********un.com. Letters may be edited for clarity and space.

Unified Field Theories: Life, the Universe and Anguishing

Like many jacks-of-all-trades, I’ve long yearned for a “unified field theory” of my career. I’m not a Renaissance Man in the conventional sense since the scope of my interests is limited to media, meaning-making and occasionally manipulating both for laughs. Call it a controlled burn with occasional fireworks.

The “UFT” (which, incidentally, is the sound I make when getting out of a chair) is a bit of physics jargon that was the holy grail of gents like Einstein, Schrödinger and probably his damn cat, who had the most to lose (or not lose) in this pursuit. 

The goal was to unify an understanding of everything from gravity to electromagnetism and why traffic slows on the 101 in Novato no matter how many lanes are added. Did they succeed in finding this so-called “theory of everything?” No, but more than a few religions have smugly claimed to have found it millennia ago.

Regardless, the UFT remains a noble if quixotic ambition. And like religion will likely prove to be an answer rather than the answer when and if someone finds it. This is due to a peculiar hiccup in our ability to understand anything as a species. Inasmuch as Einstein posited relativity in terms of space and time, we are likewise conscripted to our own relative perceptions, shaped by our consciousnesses, experiences, and wherever we happen to be and when it is that we’re there. Which is to say, it’s very difficult to perceive objective truth through the lens of our own biases and filters. 

For example, in my youth I was told that my future is so bright, I gotta wear shades—yet, as a consequence I’ve spent much of my life with a dim view of the world. To quote the Huxley-hued line from dance-pop band YACHT’s 2015 hit, I Thought the Future Would Be Cooler, “I thought the brave world would be newer.”

Anyway, does this mean that objective truth doesn’t exist? No, but you’ll never see it, so it’s tantamount to an act of faith to believe that it does. This late night, dorm room-level revelation has made working in news media particularly onerous (how does one fact check “alternative facts?”). 

Like any experiment in unifying forces, my career has had its share of false positives and small explosions—some literal, some figurative. Every detour—from newspapers to novels, podcasts to punchlines—was just another attempt to coax coherence out of chaos. If there’s a throughline, it’s this: I’ve spent my life telling stories in different costumes, hoping one of them might actually fit.

Is it journalism? Is it satire? Is it just me talking to myself with better lighting? Yes.

I haven’t found a theory of everything—but I may have stumbled onto a theory of doing just enough of everything. And relatively speaking, that’s truth enough.

Editor Daedalus Howell is at dhowell.com.

Viva ‘Freddy Chickan,’ Acclaimed Performer Fred Curchack Performs Benefit for Mercury

For half a century, performer, playwright, and professor Fred Curchack has carved a unique and personal path through the world of theater. 

He’s created dozens of original shows, toured internationally, embarked upon spiritual odysseys disguised as theater, and theatrical odysseys disguised as spiritual ones. 

But this month, the shape-shifting artist returns to where much of it began—Mercury Theater in Petaluma, the recently rechristened site that was long the home of the Cinnabar Theater, which evolved into the youth-focused entity continuing under that name). 

Curchack has performed more than 60 of his works in the space and, in his words, it is an “artistic and in some ways spiritual home.”

Mercury Theater will host Resurrection of Freddy Chickan, a fever-dream retrospective stitched from nine of Curchack’s most outrageous and revelatory works. Expect music, shadow-play, movement, puppets, video projections—and a voice that the New York Times once said proves that his “imagination knows no limitations.” Proceeds benefit the theater company.

“I made a list… there were 62 of them that I presented [there],” says Curchack, listing solo work, duos, ensemble collaborations, and at least one opera. His daughter, performer and filmmaker, Alia Beeton, grew up there. His wife, actor Laura Jorgensen has performed there “endlessly.” The place, he says, is “very much family.”

And yet, Resurrection of Freddy Chickan is no sentimental scrapbook. Nor is it merely a survey of his greatest hits (though fan favorite elements will abound). Instead It’s a lucid descent into the subterranean terrain of the psyche, bolstered by comedic timing and landing audiences, gratified, into new ways of understanding themselves and each other. “They’re all very crazy, neurotic, unconscious kind of journeys,” he says. “I’d be an idiot if I proclaimed they were some sort of spiritual truth… but they represent my own very limited human attempt to make that kind of journey for myself.”

Curchack is a theater artist in the sacred sense—he’s waiting for Grotowski, not Guffman. The new solo show, he explains, is both a creative liberation and a logistical necessity. “The solo is an amazing compromise,” he says. “You get to work your ass off all day long if you feel like it—and you don’t have to beg for other people’s time.”

But make no mistake: for Curchack, solo doesn’t mean solitary. His aim is to bring the audience with him—downward, inward, and back again. “There’s this thing about a shaman descending into the underworld and bringing back something of value from the subconscious for the community and for healing,” he says. “All of that resonates with me.”

That resonance may register as humor. Or shock. Or maybe, if the conditions are right, something closer to bliss. “The world is in a state of deep suffering,” he says. “But it’s always been the case…With theater, when you touch those deepest levels of your deepest anguish, your deepest suffering—if you can uncover what that is—you may find yourself a kind of luminosity or transcendence or even bliss or delight.”

This is the tightrope Curchack walks: equal parts ecstatic, elegiac, and deeply entertaining. “I hope they’re funny,” he says of his shows, “but they also represent profound suffering… Theater can be fun. And part of it is that when you touch those deepest levels… something redemptive can happen.”

His body of work—which blends psychology, politics, mysticism, and multimedia—has drawn comparisons to a bevy of theater innovators, but Curchack ultimately defies categorization. He seeks to align with artists who engage with performance as spiritual pursuit. But he’s also aware that, in a “world of celebrity,” such pursuits can seem antiquated or overly earnest.

So he smuggles them in under the guise of spectacle, and the result is work that’s as trippy as it is trenchant—and so damn entertaining. “My wish is that it irritates people on some level—which ends up being useful to them ultimately,” he says with a sage laugh.

Resurrection of Freddy Chickan is a return—but it’s also a revival in the truest sense. It’s Curchack, once again, inviting us to suspend disbelief, descend together, and emerge with something strange and maybe even luminous. That he’s doing it in a place so woven into his personal history only deepens the spell.

“I’m so happy to be able to make a contribution,” he says. And if it raises a few shekels for Mercury Theater? Even better.”

‘Resurrection Of Freddy Chickan’ plays Fridays and Saturdays, May 23, 24, 30, and 31 at 8 pm. For tickets, please visit www.mercurytheater.org or call 707.658.9019. Tickets are $25 for general admission and $15 for students. Proceeds benefit Mercury Theater, which is located at 3333 Petaluma Boulevard North in Petaluma.

Note: This production contains depictions of and references to rape, abortion, suicide, decapitation, obscenity, profanity, insanity, racism, sexism, classism, fascism, and extreme irony.

Sondheim’s ‘Company’ open for Biz at Spreckels

The opening night performance of the Spreckels Theatre Company production of Stephen Sondheim’s Company, now running in Rohnert Park through May 18,  was my first experience with the classic musical comedy. 

Company follows Bobby (Andrew J. Smith), an affable, mid-thirties Everyman, as he seeks love, personified here by brassy Marta (sensational vocals by Evvy Carlstrom), gentle Kathy (wistful Bethany Cox), and blunt April (Katie Rain, with gorgeous voice and killer comic timing).

Bobby has help from five couples: Jeff Coté (in a very funny turn) and Allie Nordby; a sincerely sweet Noah Vondralee-Sternhill and Maeve Smith; Malcom March and zany Tina Traboulsi; Alex Delzell and Maddi Scarborough; and Sean O’Brien and Shannon Rider. They all grapple, very lightly, with such issues as divorce, passive aggression, and regrets with getting married in the first place. 

It’s clear the brilliant lyricist developed his talent considerably since this simple tale of a hapless bachelor seeking love and meaning with the help of five overzealous and seriously codependent couples premiered in 1970. Issues of marriage, fidelity, and losing one’s identity in a relationship may have been groundbreaking material fifty years ago, but they all seem rather pedestrian in today’s unprecedented times.

This is truly a show for actors and the cast, co-directed by Sheri Lee Miller and James Pelican, fairs well; with the women cast members (especially Allie Nordby as a gamely physical Sarah) more successful at creating memorable characters than their male counterparts. I attribute this to the writing, because the whole story seems to be Bobby’s female-centric fever-dream. The  focus is on how he’s admired and desired by all the wives, so much so that they serenade him in an odd love scene, “Poor Baby.” The husbands envy Bobby’s freedom, and each couple seems so deeply invested in him that it makes you wonder what else they do with their lives.

Sondheim’s genius lies in his lyrics and musical composition, showcased hilariously in “Getting Married Today” which features astonishing vocal work from Maddi Scarborough and wonderfully unhinged physical comedy from Maeve Smith. Musical direction by Lucas Sherman and his orchestra is sharp and skillful

If you’re a Sondheim die-hard, this might be the show for you. If not, you’re still in for some lively performances by some of the North Bay’s finest musical theatre performers.

‘Company’ runs through May 18 in the Codding Theater at the Spreckels Performing Arts Center, 5409 Snyder Lane, Rohnert Park. Fri-Sat, 7:30pm; Sun, 2pm. $16 – $42. 707.588.3400. spreckelsonline.com.

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