Eisa Davis Spins Improv Musical Web in Process of Becoming

by Aaron Draper

“||:Girls:||:Chance:||:Music:||” follows four young women attending a summer music program, tracing their artistic and personal development as they navigate collaboration and the pressures of performance. While the play is framed as a story about the transformative power of arts education, it ultimately struggles to deliver a clear narrative focus.

Playwright Eisa Davis cleverly uses the “repeat” symbols in the title to include musical notation front and center.

Designer Nina Ball sets the stage for an evening of musical exploration. Ball has created a striking, unique setting with tall pillars at odd angles, as if the building might topple at any moment.

Ball’s visually engaging set is inspired by sheet music and improvisation. The piano, drums, flute, and baritone saxophone clearly put us in a music education setting.

The most compelling thread of the story emerges in the four girls’ evolving connection to improvisation. They journey toward letting go of rigid structure and embracing the chaos of creativity, offering resonant and authentic moments.

The young women deliver strong musical performances throughout: Hillary Fisher, as the vocalist Fax, stands out for her classical vocal control and presence. Naomi Latta’s portrayal of Margot brings a sharp, rebellious energy—reminiscent of John from The Breakfast Club. Yeena Sung and Gianna DiGregorio Rivera round out the ensemble with equally committed performances.

Collectively, the group demonstrates impressive musicianship, highlighted by their interplay during the improvisational segments.

When the characters simply jam—abandoning written music and trusting their instincts—the play feels most alive. These scenes effectively capture the freedom and exhilaration that improvisation brings to artists.

However, the play is burdened by an abundance of plots that dilute its impact. Storylines involving a shared sperm donor, homelessness, an unexpected explosion that injures a student, and episodes of drunken conflict compete for attention. While each of these ideas has potential, none are given enough time to develop fully, leaving the audience with fragments rather than a coherent journey. The result is a story that feels scattered, without a clear point of view.

The production opens with an unconventional audience interaction: twelve volunteers are invited onstage to select notes from a twelve-tone scale, forming a musical sequence that the performers weave into the music of the show. While inventive, the device takes too much time to develop. The audience is left with a clunky melody that the performers must work around.

Despite its strengths, the play falls short. The frequent monologues directed at the audience feel disconnected from the central action, interrupting rather than enhancing the narrative. Repeated lines such as, “If you feel discouraged, you should be,” hint at a theme, but remain to be explored to deepen our understanding.

In the end, “||:Girls:||:Chance:||:Music:||” offers an abundance of ideas about youth, artistry, and music education, but lacks the cohesion needed to make those ideas land. While the performances and musical sequences are engaging, the play leaves us with information rather than an emotional connection—a collection of intriguing concepts that never quite coalesce into a satisfying whole.

“||:Girls:||:Chance:||:Music:||” by Eisa Davis, directed by Pam McKinnon, scenic design by Nina Ball, costumes by Mel Ng, lighting by Russell H. Champa, sound by Fan Zhang, and original music by Eisa Davis.

–by American Conservatory Theater, in co-production with Vineyard Theatre. Playing at: STRAND THEATER, 1127 MARKET Street, SAN FRANCISCO 94103.

Info: act-sf.org – to April 19, 2026.

Cast: Gianna DiGregorio Rivera, Hillary Fisher, Naomi Latta, and Yeena Sung.