DANCE Ben Levy sure knows how to throw a party. For the 10th anniversary celebration of his LEVYdance company, he once again closed off SOMA alley Heron Street, where his studio is located, and hung balloons, speakers, and lights. He put up bars and set out soft sofas, and erected a large stage with a central pit full of pillows (for those who might prefer to recline). It was one of those rare San Francisco evenings with clear skies — and just the slightest of breezes — which made you glad you don't live across any bridges.Read more »
We’re already halfway through Pride Month, but there’s no end in sight for the mad whirl of activities you could be availing yourself of. Proud or not, there’s no excuse for a blank social calendar at this time of year. Hate the club scene? Don’t overlook the très gay possibilities of a night in the theatre (Truman Capote wouldn’t). For starters, you might check out one of the ongoing shows over at the venerable New Conservatory Theatre Center, or one by queer theatre stalwarts Theatre Rhinoceros, but for campier fun, The Performant has a few favorites of her own to recommend (being gay not required).
Reminiscent of Mission parlor-art space The Red Poppy Art House, Subterranean Arthouse in Berkeley, upon entrance, is a lot like entering the living room of an artsy friend. Comfortably mismatched chairs and a few scattered cushions, a kitchenette behind the stage curtains, inviting visitors to endless cups of tea, hardwood floors gleaming below a strand of primitive lighting instruments.
Just four years old as a venue, the Arthouse nonetheless gives off the vibe of a place that’s been around forever, lurking just below the radar, if not actually under the ground (unlike La Val’s Subterranean, it’s actually located at street level). In short, it’s about time I got around to attending an event there.
The piece, “Infinite Closeness” is a solo offering of Hungarian performer Csaba Hernadi, an entirely mimed evocation of the poetess Mari Lukacs, whose life spanned the horrors of the Holocaust, the communist regime, and the usual traumas and blessings of a life lived for poetry.
DANCE If you are even tangentially connected to San Francisco's dance community, one name will pop up again and again: Ed Mock. He was part of San Francisco's awakening as a center for arts on the edge before his death from an AIDS-related illness in 1986.Read more »
DANCE Liz Tenuto and Justin Morrison — two dancer-choreographers who've made up for their limited time in the Bay Area by being highly, polymorphously productive — share a bill at CounterPULSE this weekend. Tenuto will show a work for three dancers in two parts, the first of which premiered at ODC Theater last December under the title The Darkest Hour Is Just Before Dawn (featuring the trio of Esmeralda Kundanis-Grow, Elizabeth McSurdy, and Rebecca Siegel). Morrison performs in the debut of his new solo work, entitled Weapon.Read more »
Although the ongoing eviction saga (and upcomng relocation!) of Adobe Books, “the living room” of the Mission, from its 16th Street digs dredges up memories of all the neighborhood bookstores that have closed/moved in recent years, it’s worth being reminded that the book trade has only ever had a limited impact on the persistence of the written (and spoken) word, particularly where poetry is concerned.
In fact, the more tenuous the economic climate, the more tenacious poetry becomes, pushing itself like a hungry weed through the unavoidable cracks left in the superficially smooth pavement of gentrification. That poets are themselves accustomed to staying hungry yet artistically fruitful is a condition immortalized in the famous Robert Graves quip that “there’s no money in poetry, but there’s no poetry in money, either.”
THEATER Tom Stoppard is not a playwright who shies away from topics of unusual size. While other writers might confine themselves more narrowly with plumbing the emotional depths of their protagonists, Stoppard further concerns himself with the very workings of the universe they live in, and the machinery of history and the evolution of thought that informs their relationship to it.Read more »
Spring is in the air, and so is DIVAfest, the EXIT Theatre’s annual celebration of female artists and theater-makers. Founded in 2002 by Christina Augello to give female creators a secure space to showcase their craft, DIVAfest has hosted an estimated 500 participants have come through in the last 11 years, from visual artists (Sophie Kadow, Kathy Jo Lafreniere, Michelle Talgarow) to playwrights (Kerry Reid, Lee Kiszonas, Margery Fairchild) to music-makers (Beth Wilmurt, Shannon Day, Carrie Baum Love), to burlesque dancers (Odessa Lil, Red Velvet, If-N-Whendy). This year, the fest hits the stage May 9-June 2. Read more »