Thirty seconds after we walk into Bindlestiff Studio, S. is sold on kInDeRdEuTsCh pRoJeKtS’ production of “Arctic Hysteria.” He instantly recognizes their preshow music as being a Neue Deutsche Welle song he’s currently enamored with, “Eisbaer” by Grauzone, in which the author expresses a deep desire to be a polar bear. “Alles waer so klar!”
“This is the song I was just talking about,” he exclaims with satisfaction (it’s true) as we settle into our seats to gaze at the Community Thrift meets Matthew Barney set (designed by Sue Rees): corrugated white pressboard walls, an easy chair and matching ottoman covered in leopard print, an uncomfortable-looking brocade couch, a static-filled television set in the corner, a silver decanter and goblets on a roller tray. An innocuous enough setting for a play named for a contested form of madness particular to the arctic, supposedly characterized by uncontrolled outbursts, mimicry, echolalia, and coprophagia; keywords which might also be used to describe a typical Saturday night out in San Francisco.
Three playful performances by women offered vastly different perspectives.
Where’re the ladies at? Same place they’ve always been, really. Dancing backward in high heels. Getting on with the business of living while all around the world threatens to crash down around their feet. Politics. Murders. Institutionalized systems of oppression. Climate change. Is optimism overplayed? Or is hope all we have to keep us moving forward? This past weekend, three playful pieces gave stage time to the notion of moving forward in a world gone mad, each created and performed by a contingent of strong female figures, each bucking, in their own way, conventional wisdom on femininity and the future, with striking results.
Pianofight takes on Tchaikovsky -- and the death of theatre -- and Boxcar's Hedwig has us humming in the shower.
Zombies are so over. The next monster movie massacre sensations are totally going to be murderous waterfowl, so props to PianoFight and Mission CTRL for jumping on that bandwagon before it even rolled out of the studios with their ensemble-created, ballet-horror-comedy, Duck Lake. When Raymond Hobbs as theatre director Barry Canteloupe (sic) boasts “no one has ever done what we are about to do,” while tweaking his own nipples, you get the feeling he’s talking about more than the production he is supposedly directing -- a musical theatre adaptation of Tchaikovsky’s “Swan Lake.”
THEATER The set (by Beowulf Boritt) is almost unassuming in its simplicity: just a trio of receding frames arching over the stage, each progressively more askew, and beneath them a jumble of aluminum chairs piled to one side. Still, such simplicity also hints at, and soon delivers, rich complexity.Read more »
Visual alchemy, fabulous feminist story-telling, and something deemed “hyper-literate busking” abound at 2012’s Queer Rebels of the Harlem Renaissance fesitval, three nights of art and performance (Thu/28-Sat/30) by 21 LGBTQ African Americans.
Part of the 15th National Queer Arts Festival, Queer Rebels of the Harlem Renaissance continues the legacy of the droves of artists, performers, and activists who questioned stale societal standards in a myriad ways during the heyday of the New York City neighborhood's 1920s and 30s creative blossoming: from sensual lyrics of Bessie Smith to the pointed poetics of Langston Hughes, the artists of the Harlem Renaissance continue to testify to the assertion that social causes are rarely separate and constantly progressing.
KC Turner’s House Concert series gets up close and personal
When did the home become a fortress? It’s as if each city block were comprised of hundreds of tiny sovereign states squeezed in next to each other, doors locked and shades drawn, the notion of running next door for a cup of sugar all but lost. Who even uses sugar anymore, let alone pesters their neighbors for an emergency ration of it? It must be this entrenched reclusiveness that makes the idea of a house concert especially appealing. When just the act of opening your home to a group of strangers feels subversive, the act of accepting the invitation can feel downright revolutionary—a banner waved against the forces of encroaching isolationism.
Aftermath at Stagewerx attempts to humanize recent refugee experience.
An austere set greets the assembled theater-goers in the black box arena of Stagewerx: a projection of a shop-lined street in the Middle East, a few chairs, an aerial photograph of Iraq perched on an easel, an incongruous television, and a pair of shoes.
A lone figure in a headscarf and wide trousers, Rafidain (Yara Badday), approaches the centerstage and begins to speak in Arabic, offering chai, looking anxiously over her shoulder for her interpreter, Shahid (Mohamed Chakmahchi). In Theatre Period’s ongoing production of Aftermath, the year is 2008, the location is Jordan, and all of the characters are Iraqi refugees, their stories gleaned from a series of interviews conducted by Jessica Blank and Erik Jensen on the subject of the 2003 US invasion and occupation of Iraq, and its ongoing repercussions.
Wild Food Walks and Bal Littéraire satisfy imaginative appetites.
“First, the bad news,” says our guide and frequent forager Kevin Feinstein. “Foraging in the Bay Area is illegal.”
Well, swell, I guess it’s a good thing that I packed snacks. “If the land is private, and you have permission from the owners, you can forage,” Feinstein amends, which still doesn’t help me in planning my lunch, but good to know for future reference. I’m attending one of ForageSF’s “Wild Food Walks,” along with about 15 others, hoping to graze upon that freest of foodstuffs, the weeds in our backyards -- and yours.