REVIEW Director Mary Zimmerman's association with the Berkeley Rep goes back to 1996's Journey to the West, her adaptation of the classical Chinese novel, famously followed in 2001 by Metamorphoses, a visually startling adaptation from Ovid's collection of Greek and Roman myths for which she went on to receive a directing Tony. Read more »
The great Langston Hughes titled a volume of his autobiography I Wonder as I Wander, invoking the notion of the poet in terms entirely personal and inevitably representative of a whole people, violently unsettled by history and restlessly searching for meaning, home, dignity in short, for themselves. In Hughes' art, this dovetailed with the image of the poet as blues singer and the blues singer as poet. Read more »
REVIEW Even if the rest of the "change" he's been promising remains elusive, Barack Obama's resounding electoral win is already change and of a profound kind given its undeniable impact on racial consciousness among African Americans, Americans at large, and no doubt people around the globe. Of course, nobody thinks racism disappeared overnight Nov. 4. If anything, the day marks an opportunity for a reinvigorated dialogue on the complexities of race and racism in the 21st-century United States. Read more »
REVIEW The title of David Szlasa's peculiar, compact, and appealing new work suggests one ready avenue of flight from a world gone mad, but in fact fantasies of escape take more than one form in My Hot Lobotomy, now up at CounterPULSE. And while escapism is exactly what the piece concerns itself with, the import is anything but apathetic or disengaged. Read more »
PREVIEW Last year saw the re-release of performance artist and musician Laurie Anderson's 1982 debut, Big Science (Warner Bros.). What a heady nostalgia its lo-fi cover invokes, a confidence now gone quaint with the one-time fad of robotic gestures, lab coats, and test-tube weirdness. It's just cute the way the '80s were catching up with the future.
But recently the recording's opening track, the eerie and wacky "From the Air," has been on shuffle rotation in the iPod of the brain as one of the more apt commentaries on present madness. Read more »
REVIEW The prologue and opening salvo in playwright-director Steve Morgan Haskell's spirited, fitfully inspired rock parable All You Can Eat an offbeat, down-tempo call to arms has a French accent, wielded by a woman named Camille de Tocqueville (a coolly assured Michelle Haner). Read more »
REVIEW By now, the Italian American mean streets of New York that colorful bustle of energies shadowed so enticingly by the wickedly romantic lives of entrepreneurial mafiosi are an immovable fixture on the post-Scorsese, post-Sopranos landscape of cultural memory. So much so that, in its more run-of-the-mill versions, this world strikes the outsider as virtual at best: no more than a manufactured dreamscape. But authenticity is hard to fake. Read more »
REVIEW American Conservatory Theater's season opener marks the 40-year anniversary of 1968 with the well-timed if less than well-executed Bay Area premiere of Tom Stoppard's Rock 'n' Roll, which from the dual vantage points of Prague and Cambridge traces revolutionary politics and counterculture between 1968's Prague Spring and 1989's Velvet Revolution.
Stoppard's latest but not greatest is almost a 20th-century coda to his grand three-part saga of 19th-century revolutionaries, The Coast of Utopia, building on the famed playwright's on Read more »
REVIEW Hey, kids! Wake up and smell the freedom! Outside the RNC, for instance, where a phalanx of Taser-wielding storm troopers recently did their dirty work on citizens practicing what civics classes used to call free speech. One 19-year-old there was beaten unconscious, hooded, hauled away, and beaten some more subjected to what any dropout in years past would have rightly called torture. Read more »
REVIEW I don't know if it helps to have a strategy at the San Francisco Fringe Festival. The nature of this annual animal the 17th installment opened Sept. 3 resists forethought. You study the program, listen to the buzz while getting yours on in the Exit Theatre Café, read the audience reviews online, but in the end you never know what you'll get. This year I led with my gut and it being that kind of year decided to go for all the dark stuff: the ugly, the brutal, the profane. Read more »