Kevin Clarke
began his involvement with Art Street Theatre as a fan. After attending three seasons of Art Street shows, Kevin wrote a letter to Mark Jackson requesting an audition for his upcoming Messenger #1. He was cast in the show and has been happily working with Mark and company ever since. Kevin originated roles in Io - Princess of Argos!, The Lost Plays of Jacques du Bon Temps, Don Juan, The Death of Meyerhold,  The Forest War and Salomania and has performed in several other productions directed by Mark. He directed Jackson in his one man show, I Am Hamlet, and the two co-directed Faust Pt1, for which Kevin also designed costumes, weapons and blood effects. He became an official company member of Shotgun Players in the spring of 2011.


Kevin co-directed the maverick performance duo Hagen & Simone with Monique Jenkinson from 2001-2007. They staged works in theaters, on nightclub platforms and in store windows and received acclaim for Future Perfect—a piece about style and editing as distilled from two vastly different texts: the eclectic memos of fashion grand dame Diana Vreeland and Strunk & White’s The Elements of Style, the father of all grammar guides. 


Kevin originally hit the San Francisco stage in the work of Chris Black (Chris Black/POTRZEBIE Dance Project) and continues to perform in many of the company’s dances. He has performed with First Seen, Huckabay McAllister Dance, Joe Goode Performance Group, OnSite Dance Co., SQUAD, STEAMROLLER and Stephen Pelton Dance Theater.


Kevin appears in several short films by Kia Simon and in Test, a feature film by Chris Mason Johnson. He was a fine art painter for many years and works as a freelance graphic designer. His designs have been included in Print Magazine’s 2003 Regional Design Annual, Two-Color Graphics: Unlimited Design Solutions (Templin Brink Design) and Arts for the City: Civic Art and Urban Change (SFAC).

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Production Photos
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Messenger #1 Orestes stabbing Clytemnestra
“The creation of this particular murder with Michelle Talgarow set the standard for virtually all of Kevin’s collaborative work as an actor.”
Jacques du Bon Temps
“Happy Man is not looking so happy as he is swallowed by a mob after another failed cleaning experiment.”
Io, Promethius bound
“On nights when these ropes weren’t tied exactly right, this scene was excruciating!”
Seyton murdering Banquo. "Seyton is thinking: If he gets blood on my coat, there is going to be hell to pay.”
The Death of Meyerhold
Shostakovich flips out: “I only want to make music. And to LIVE!”
Link to video by Kia Simon:

On Woyzeck
  • “Kevin Clarke nearly steals the show as a buffoonish doctor.”
    Huffington Post

  • “Kevin Clarke is delightfully bizarro. He has the menacing manner of a mad scientist, with a shock of Albert Einstein hair. Clarke’s edgy unpredictability makes the doctor both menacing and hysterical.” –

  • “…and the Doctor (a maniacally cheerful deviant in Clarke's finely sculpted performance)” –San Francisco Bay Guardian
On Salomania
  • “Kevin Clarke plays five [roles], including a riveting Oscar Wilde and the sassy and sarcastic Judge Darling in addition to a soldier.” –The San Francisco Appeal

  •  “Kevin Clarke does a masterful double turn as Wilde and Judge Darling.” –

  • “Kevin Clarke inarguably nails the hypocrisy of the times as the florid-faced, effeminate Judge Darling, but then has some mesmerizing moments as a frail, aging Oscar Wilde.” –

  • “Kevin Clarke is darling as Justice Darling, the delightfully high-spirited judge hearing the trial… He also makes a melancholy but still poised and terribly witty Oscar Wilde, long past the end of his rope.” –TheIdiolect

  • “… [Clarke’s] performance as Oscar Wilde in the last scene is exquisite.” –Talkin Broadway

  • “Particular mention should go to Kevin Clarke whose channeling of Life of Brian-era Michael Palin was a much needed light point and whose pathos-driven, late-era Wilde was a well-balanced focal point for the audience’s sympathies.” –Daily Californian
On Little Shop of Horrors
  • “Kevin Clarke simply steals every scene he’s in as the S&M dentist with a lethal penchant for nitrous oxide.” –

  • “Clarke as the twisted Dentist Orin gave a singularly brilliant performance.” –Broadway World

  • “Everyone’s favorite badass dentist is played to sadistic perfection by Kevin Clarke, who rolls up Natoma Street on an actual motorcycle.” –San Francisco Bay Guardian
  • “Kevin Clarke as the milquetoast Tsar infuses his role with effortless comedy.” –Berkeley Daily Planet

  • “Kevin Clarke is marvelously funny as the timid and apologetic Tsar.” –
On Macbeth
  “Kevin Clarke…opens the play as a most disturbing bloody sergeant and penetrates his later scenes as Macbeth’s right-hand murdering man.” –

On The Forest War

  • “Intrigues and longings are expressed in a very physically stylized and specific fashion, which makes this Kevin Clarke's show... As the villainous Kain, he has not only tremendous physical control, but he and Jackson have the shorthand that develops between longtime collaborators. He also seems to be the most at ease with the language... Kain is a far cry from the frenetic Shostakovich Clarke played in Shotgun's The Death of Meyerhold, but every bit as intense.” –East Bay Express
On Pastime
  “Clarke gives a stupendous performance to make passers-by stop and stare, so that when he's borne casket-like by his teammates to the strains of ‘America’ (‘My Country, 'Tis of Thee’), you wonder if this is just a game after all.” –San Francisco Chronicle 

On Bent

  • “In a standout performance, Kevin Clarke delivers a pitch-perfect portrait of Horst, an older, openly gay man who, despite his most appalling and inhumane treatment, hangs onto his shredded pride, diginity and sense of humor. Clarke's slow, silent shuffle through a food line reveals more about Horst's history in the camp than any words put to paper.” –KQED Arts

  • “Kevin Clarke gets the full potential of his demanding role of Horst in the second act. Both [actors] give mesmerizing performances as they carry the rocks back and forth across the barren stage.” –Talkin Broadway
On Travesties
  • “Clarke imbues Tzara with a Chaplinesque charm, and his unhinged tantrums (in the face of Carr's stubborn Victorian defense of modernity) have a revealing poignancy to them (Dada's irrationalism and nihilism seeming more than reasonable under the circumstances).” –SF Bay Guardian

  • “Last year's Shostakovich [Death of Meyerhold], Kevin Clarke, gets to be just as agile and twice as tough as the tantrum-prone Tzara, who exclaims that ‘It's too late for geniuses. Now we need vandals.’" –East Bay Express

  • “Kevin Clarke as Tzara is especially untethered, as though his dadaism were a denial of physical reality as well as philosophical certainty.” –The Rubicon
On The Death of Meyerhold
  “…the composer Shostakovich has a panic attack in Meyerhold's flat. Crawling on both horizontal and vertical surfaces like a gecko, Kevin Clarke recalls a photo from Meyerhold's production of The Magnanimous Cuckold” –East Bay Express

On Messenger #1

    “Kevin Clarke, as Agamemnon, is swaggering and fey—like a blend of David Bowie and Jack Nicholson.” –Backstage West

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