Over the years, San Francisco-born Rinabeth Apostol has appeared in film, TV and on stage and has worked as an educator and activist.
Over the years, Rinabeth Apostol has appeared in film, TV and on stage and has worked as an educator and activist.
In Sam Chanse’s world premiere comedy at the Magic Theatre, “Monument, or Four Sisters ,” she is Constance, the second to the youngest sister in a family of mixed Asian Americans. “We grew up speaking English,” she says, on the phone from her home in Emeryville, which she shares with her wife of almost eight years. “And we were fortunate enough to learn conversational Tagalog, mostly due to doing a lot of community work with my parents and being involved in community productions centered on Filipino culture. We sang songs in Tagalog, in Taglish” .
The first plays she remembers seeing are “Les Miz” and “Cats,” but the most memorable was “Big River,” William Hauptmann’s 1984 musical based on “Huckleberry Finn.” “That really changed the way I thought of theater,” she says. Later, during six years in Los Angeles, she upped her game, taking many more classes, with The Groundlings’ training program and independent teachers. While there, she danced professionally, did some TV and was called temporarily back to the Bay Area for roles in “The Kite Runner” at San Jose Repertory Theatre and in “Red” at TheatreWorks on the Peninsula, and reconsidered the Bay Area as a place to do theater. In general, she found L.A.
Of Alison in “Fun Home,” she says, “Alison is a tough cookie. She’s the only character in musical theater written as a dyke.” Playing real people like Alison is tricky, she notes. When she was at the Humana Festival in Louisville, she played a character based on a living playwright — who was in the room watching rehearsals. “You try not to get too cerebral with it,” she explains.
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