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By Juliana Frick

Created by Juliana Frick

On her way home from a ten-day meditation retreat, Myra Van Gloov loses her luggage, her house keys and then her phone. It only gets worse from there. A lyrical, funny and moving portrait of grief.
Adult language
The creators say this show is appropriate for ages 12-15 and up
Seat Reservations and Show Tickets
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Date Time Ticket Options Quantity Purchase
Sat 08/05 5:30 PM

Pre-sale closed Online sales end at 11:59pm the day before the show, or when 70% of the house is sold.

Mon 08/07 AD 7:00 PM

Pre-sale closed Online sales end at 11:59pm the day before the show, or when 70% of the house is sold.

Wed 08/09 10:00 PM

Pre-sale closed Online sales end at 11:59pm the day before the show, or when 70% of the house is sold.

Fri 08/11 8:30 PM

Pre-sale closed Online sales end at 11:59pm the day before the show, or when 70% of the house is sold.

Sat 08/12 ASL 1:00 PM

Pre-sale closed Online sales end at 11:59pm the day before the show, or when 70% of the house is sold.

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Reviews for: FLOAT

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Video Trailer
Cast and Crew
Juliana Frick
Writer, Performer- Myra Van Gloov
Juliana Frick (she/her) is an award-winning, Deaf physical theater artist and acrobat based in Berkeley, CA. She is a founding core member of the dramatic acrobatic troupe UpLift Physical Theatre and the founder and director of Pinecones and Portals Hiking Theater Company, bringing high quality immersive theater outdoors for bay area kids and their families. She grew up touring with acclaimed youth-troupe Circus Smirkus from ages nine to fifteen. Juliana received a BA in music and storytelling from Hampshire College in Western, MA, completed the professional training program at Dell’Arte International, and trained under James Donlon and Leonard Pitt at the Flying Actor Studio. Most recently, she received an award for “Original Application of a Physical Language” at the Cairo International Festival for Experimental Theater in Egypt. In 2017, Juliana was diagnosed with a rare illness that caused profound hearing loss and vestibular dysfunction. She is also a mother to an endlessly inspiring and delightful 6 year old.
Julie Moore
Performer- The Narrator
Julie Moore (they/she) is an award-winning queer clown, actor and artist from the east coast. Their work has been featured at such venues as the Houston Fringe festival, the TANK in NYC, the CrisisArt Festival in Arezzo, Italy and Elsewhere museum in North Carolina They’re a graduate of Headlong Performance Institute, the Academia dell’arte and Dell’Arte International School of Physical Theatre. From performing with Clowns Without Borders to founding The League of Delicate White Women- where they combine their work with Somatic Experiencing, Somatic Abolitionism, Theatre of the Oppressed and clown to offer spaces for white women to unlearn how white supremacy lives in their bodies-they believe that by addressing trauma in the body, providing connection to the displaced, and making a few folks laugh, we can work to dismantle systems of power. They also work with unhoused youth, in harm reduction and needle exchange circles, and as a massage therapist. They currently live in Minneapolis.
Jeff Raz
Jeff Raz has directed dozens of theater, circus, dance and puppet productions, written 20 plays and three novels, performed internationally in circuses, including Cirque du Soleil and the Pickle Family Circus and acted in theaters from Berkeley Rep to Broadway. He is a graduate of Dell’Arte International and the founder of The Clown Conservatory at Circus Center, San Francisco. Jeff also works globally as a communications consultant.
Gregory Scharpen
Sound Design
Gregory Scharpen (sound design) is the resident sound designer for Central Works in Berkeley, and has designed well over 150 shows, for companies including Shakespeare Santa Cruz, TheatreFIRST, Theatre Rhino, and many others. He is the editor of numerous documentary features, among them the Emmy-winning series Have You Heard From Johannesburg, The Whistleblower of My Lai, and Town Destroyer. Under the rather old-fashioned moniker Thomas Carnacki, he concocts, records, and performs “experimental” (read: unlistenable) music, frequently in collaboration with a host of musicians more talented than he is, with a new double-lp, Cadavre Isolé, due out this autumn. Carnacki music has appeared in various films (from HBO documentaries to experimental shorts) and dance pieces (including Margaret Jenkins' internationally-toured Skies Calling Skies Falling.) And, as that isn’t nearly enough, he also hosts a number of programs on KALX 90.7fm, variously dealing with music, film, and art. He is a founding member of the Oneiromantic Ambiguity Collective, whose memory has long since faded into dust.
Joe Krienke
Project Coach
Joe Krienke is the co-founder of Soma Studios in Minneapolis, and the Program Director of Soma’s Alexander Technique Teacher Training Program. He has taught movement and physical theater at the University level for over 20 years. Joe holds an MFA in Theater, is an NASM certified personal trainer, a Registered Somatic Movement Educator with ISMETA, and is an internationally certified teacher of the Alexander Technique. His passion for movement is surpassed only by his passion for teaching.
Stephanie Thompson
Project Coach
Stephanie Thompson is a co-founder of Soma Studios, where she gets to marry her love of teaching with theatrical play and collaboration. She is also the managing director at Ten Thousand Things Theater, where she has the privilege to support incredible theater, inspiring artists and engaging audiences. Previously, Stephanie served as executive director, faculty, and company member at Dell’Arte’ International in Blue Lake, CA. Stephanie has also served on the faculty of the MFA Acting program at University of Missouri-Kansas City, and has taught throughout the United States in the areas of mask, puppetry, commedia, clown, acting, community engagement, and entrepreneurship in the arts.
Hector Zavala
Set Design
More Information

Audience Reviews for the Preview at Little Boxes Theater in San Francisco

Juliana is an incredible character actor! Her ability to channel the complex core of “Myra” is a testament to her appreciation of the human condition, with all of its beauty and flaws. This show exercises masterful simplicity from set design to choreography. And yet, the text is so deep, asking important questions: is a ritual practice enough to fix a person’s short-comings or what does ‘fixing’ a person entail? Does it require a community? And can it ever be too late? “Myra” puts on a woo-woo face, but Juliana removes her mask to reveal the vulnerable flesh underneath and it’s absolutely captivating. Go “Float” and then gloat about it! - Edna Raia


I was so impressed by this show. In most of the Fringe ‘solo’ shows I’ve seen, the actor plays themself, but Juliana Frick was a tour-de-force in her portrayal of Myra. The character has depth and I found myself feeling more compassion for my own mother after watching this. In addition to the acting, I loved the writing and sound design, and there’s a lot of symbolism in the visual imagery that kept me reflecting days after the show. In the end, the theme that stayed with me was “liberation” - what it means to try to achieve it, and what it takes to actually get there.- Nicholette Routhier


Juliana Frick doesn’t hold back with this funny, moving, fantastical one human show. Juliana pulls her audience in with universal themes around isolation, longing, and grief. The character of Myra is at once familiar, annoying, endearing, and tragic. She holds up a sometimes uncomfortable mirror to our own human vulnerabilities; our need to be loved, understood, held. She is a character in search of peace, connection, and joy but really the only thing that helps is chocolate (and maybe a quick dance party!) I hope you will enjoy this show and open your heart and mind to this experience. - Davi Pettit


This show has layers that snuck up on me, and at the end I realized I was taking in much more than I originally thought I was.Juliana Frick strikes a tricky balance; she gives a warm and physically virtuosic performance of a character who can be much less than warm, and much less than grounded.The choreography in this show is not incidental; it delivers essential meaning, and because Juliana Frick has both written and choreographed it, the combination of movement and language is rich, poetic, and, well … moving.The use of the narration in the piece has stayed with me for days. What happens when a person’s internal monologue is delivered by an unreliable narrator, and how does one go about remedying that? You will enjoy this show if you are a fan of physically precise theater or if absurdity and magical realism strike your fancy, and you will feel seen if you have ever struggled with connecting with a family member who doesn’t seem to connect with themselves.- Jessica Ferris
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