THEATER Alfred Jarry's Ubu Roi is probably better known for its riotous Parisian opening (back in 1896) than for the play itself. The profanity it leveled against the city's crème de la crème, beginning with its famous opening incantation, "Merdre!" — not exactly a word but dirty-sounding enough to precipitate a violent revolt long before the final curtain — broke open the doors of the WC on so-called polite society. As it turned out, no one was really keen or able to close them again.Read more »
Following national controversy over the resignation of a politically conservative actress from the local Spanish-language production of The Vagina Monologues, producer Eliana Lopez announced yesterday that the production has found a replacement.
Actress Alba Roversi, a veteran of the Spanish language Monologos de la Vagina, will take the place of Maria Conchita Alonso, whose departure from the play had Fox News crying foul over her being “forced out” for her conservative political views.
Any chance to needle San Francisco, right?
Roversi starred in over 20 Spanish language soap operas, though she may not have the same name recognition in the US as Alonso, whose filmography includes Predator 2 and The Running Man (with our former Governator). Roversi is in, and Alonso is out. Read more »
THEATER Take away their unconventional looks and odd talents, and the eponymous carnival performers of Freaks — Tod Browning's classic carnie horror movie — were not so unusual. Ordinary folks, for the most part, with ordinary problems and everyday virtues. The title secretly pointed to the monstrous souls of their "normal-looking" but heartless colleagues, corrupt to the point of betrayal and murder.Read more »
THEATER Maybe there's no better way to grasp your own time and place than by leaving it — in this case, trading San Francisco for Wroclaw, Poland, and Pacific Standard Time for a whiplashing case of jet lag. Wroclaw was home base for a little more than a week during the recent Dialog Festival (Oct. 11–18; dialogfestival.pl/en), which was in its seventh season as a major biennial international theater festival created and programmed by Krystyna Meissner, a force in Polish and European theater for decades.Read more »
THEATER The premise of Bay Area playwright Lauren Gunderson's latest, The Taming (not to be confused with her other latest, I and You, running more or less simultaneously at Marin Theatre Company), felt riotously germane on opening night, less than a week into the recent shutdown of the federal government. But only at first.Read more »
Theater artists reflect on life on the road in this final dispatch from the 2013 fringe festival circuit.
One of the most interesting aspects of the North American fringe festival circuit is the way it makes touring with a piece of theater an accessible proposition to even typically penniless performers. It hearkens back to an era when dozens of theater companies sent themselves on cross-country tours in much the same manner as punk bands or circuses (the San Francisco Mime Troupe and the Independent Eye among them), a rite of literal passage that seems quite out of reach for most theater-makers today. This means that despite its traditional, lottery-based programming, a penchant for kingmaking still pervades the Fringe, and certain prolific artists can become as rock stars, circumventing the lottery odds by booking themselves into unofficial venues as in Edinburgh, capturing oddience attention from year to year. Read more »
Now in its 11th year, Portland, Ore.'s Time-Based Art Festival is fall's major performance festival to the north (almost simultaneous with REDCAT's Radar LA, the major festival to the south). Mounted annually by the Portland Institute for Contemporary Art (PICA), TBA has become something of a pilgrimage site for Bay Area artists and audiences, judging by the number of familiar faces onstage and off both this year and last.
PICA's artistic director, Angela Mattox, has something to do with this. As the former performing arts programmer at Yerba Buena Center for the Arts, Mattox (now in her second year at PICA) retains strong ties to Bay Area artists. Other likely factors include the relative proximity and general cultural appeal of Portland (an increasing refuge to artists and others pushed out of San Francisco by gentrification), not to mention the scandalous lack of any Bay Area performance festival of comparable scope.
Note: this is an extended version of an article that appears in this week's print version.
Sitting in the Exit Café with a can of Guinness and the San Francisco Fringe Festival program is one of life's modest but absorbing pleasures. For those without much inside knowledge on the lineup (currently encompassing 36 companies and 158 performances), it's a little like taking a vacation by pitching darts at a wall map. There were several immediate sub-themes to choose from for 2013. I could have picked shows with bananas in the title, for instance. But for whatever reason, I dived into the service and servitude sector.
Of course, the Fringe, now in its 22nd year, is a lottery-based operation, so it is fate's fingers that pluck these patterns from the cultural whirl. At the same time, you don't need the I Ching to know that serving the rich is about all that's left of the economy for most of us, making it hardly surprising to find so many stories of bartenders, wait staff, sex workers, and mermaids-who-are-also-sex-workers floating in the pool.