"Make my world beautiful," commands the (drag) queen (Flynn Witmeyer) of her corseted courtiers. The incantation naturally has something defiant and (given our location in a loft on Capp near 16th Street) maybe even a little urgent about it, summoning the new Eden as an unruly if royal realm of gender-blurring sexual role play and uninhibited frolic. Naturally too there's bound to be trouble in paradise, the intruder in this instance being no snake but rather a pair of slithering fish-head waiters. Read more »
One of the first things to strike you about a foolsFURY production is its sheer kinetic energy and rigorous physical vocabulary. Hovering somewhere between modern dance and mime, or maybe the fashion runway and the circus, the movement of the actors onstage suggests tightly coiled regimentation and an unpredictable, acrobatic freedom. Bodies rewrite the most seemingly inconsequential gestures as larger than life or in an altogether different register, so that you might suddenly see and wonder at them.
But the next thing to strike you will surely be the words. Read more »
The central scene in Appomattox, Philip Glass's new opera now world-premiering with San Francisco Opera, is the fateful meeting of generals Ulysses S. Grant (Andrew Shore) and Robert E. Lee (Dwayne Croft) in a private residence in the Virginia town of Appomattox Court House, where Lee surrendered on behalf of the South on April 9, 1865, officially bringing the catastrophic Civil War to a dainty close. Read more »
By now it's natural to expect a lot from the Arab Film Festival, which is opening its 11th annual survey of cinema from the Arab world and diaspora with veteran Tunisian filmmaker Nouri Bouzid's excellent feature Making Of, then presenting more than 80 features, docs, and shorts from 13 countries in screenings around the Bay and, for the first time, in Los Angeles. Ghassan Salhab's The Last Man (2006), on the other hand, delivers something probably less expected: the first Lebanese vampire movie. Read more »
An uneasy double consciousness attends the able and purposeful world premiere of Benedictus now up at the Thick House whose plot concerns a back-channel effort to avert an impending US invasion of Iran. Read more »
A series of slide projections cycling through a gamut of theater posters greets audiences taking their seats at Theatre Rhinoceros's 30th season opener. Ranging in design from the openly trashy to the quietly tony, many of these posters offer eye-catching portions of skin and equally intriguing titles: Cocksucker: A Love Story, Deporting the Divas, Pogey Bait, Show Ho, Intimate Details, Barebacking, and Hillbillies on the Moon. Read more »
Dance theater remains a thriving genre in Bay Area performance. To call it a subgenre of one or the other just doesn't allow due respect for offerings by the likes of Jess Curtis, Joe Goode, inkBoat, Rebecca Salzer, and Deborah Slater. Erika Chong Shuch's ESP Project, the resident company at Intersection for the Arts, is among the leaders in this field. Read more »
The word musical normally connotes light fare. But in its latest Broadway reincarnation, Sweeney Todd: The Demon Barber of Fleet Street lends, in addition to bravura performances, a bracingly morbid bite to American Conservatory Theater's new season.
Of course, that doesn't stop Sweeney from delivering vigorous entertainment. Director-designer John Doyle's attractively reconceived, Tony Awardwinning revival of the groundbreaking Stephen Sondheim musical serves up a theatrical feast from, yes, soup to nuts. Read more »
The San Francisco Fringe Festival, second oldest in the United States, is a full-blown teenager this year and intends, by the look of its sneak preview, to act its age. Sixteen candles equal roughly 500 performances from 100 acts reliably ranging all over the place from an ex-Christian throwing down (Jesus Rant) to a two-woman portrait of transgressing poet Anne Sexton (Her Kind) to a new musical ("RM3") set inside a Southern Congressional campaign that incorporates songs by Ben Folds. Read more »
A defining characteristic of the US imperial program in Iraq, we are often told, is the resolute refusal to learn anything from history. True to the TV-weaned attention spans of our triumphant culture, history here usually means the past four years at least before stretching to include the eerily identical adventures of the British Empire less then a century ago, let alone anything going back any further. Read more »