When Sean Dorsey started the Fresh Meat Festival in 2001, transgendered artists were sequestered inside the alternative club scene. With this new event, Dorsey threw the doors wide open. While transgender and queer performances still have a special attraction for their constituencies, the festival's need to move to Theater Artaud, its largest venue yet, proves its broader appeal.
This year's presentations ranged far and wide, and so did the quality. Read more »
PREVIEW Sometimes history has a peculiar way of bringing us full circle. Charles Trapolin's family owned slaves on their plantation in South Carolina. Joanna Haigood's family were slaves in the vicinity. The commonality and difference between those two families led to The Monkey and the Devil, a collaboration between Trapolin, the former ODC dancer turned visual artist, and dancer/choreographer Haigood. Taking its title from racial slurs, the world premiere examines a festering wound in the social fabric that has not healed nearly as well as many of us would like to pretend. Read more »
Mini video-enhanced chamber operas seem to be the flavor of the month, at least in a certain stretch of the Mission District. Only three weeks ago, Bay Area composer Erling Wold's solo opera Mordake began its world premiere run at Shotwell Studios (as part of the San Francisco International Arts Festival) with inimitable tenor John Duykers in the part of the titular medical mystery and suicide a pampered Victorian gentleman with the seemingly sentient face of his sisterly "evil twin" pasted to the back of his head. Read more »
Words, words, words. You've probably noticed how Shakespeare's plays are full of them. They skip or loll on the tongue; they tickle or bemuse the ear. Sometimes, and not just for the uninitiated or casually acquainted, they come across with more music than meaning. Read more »
It's 1792 and the Terror reigns in Paris, the euphoric overthrow of the old regime in the name of universal brotherhood having given way to a fiesta of bloodletting and fear. Hiding out from the revolutionary mob, just a stone's throw from the Bastille, a weathered aristocrat, Count Almaviva (Dominique Serrand), and his reluctantly loyal and much put-upon servant Fig (Steven Epp) carp and cavil and niggle at each other, poking old wounds and replaying the past. Read more »
The head of a team of HIV researchers (Lauren Grace) tries to safeguard what may be a breakthrough a concoction they have been testing on monkeys seems, albeit mysteriously, to inhibit transmission of the virus in The Monkey Room. Meanwhile, a fallen fellow researcher turned funding hatchet man (a slickly imposing Robert Parsons) acts as proverbial wolf at the door. Read more »
Jeff Greenwald has done his show Strange Travel Suggestions dozens if not hundreds of times and still has no idea where it's going. No wonder he and his audience keep coming back for more. The unknown, an aphrodisiac to the traveler, also makes great catnip for the storyteller.
The words were sometimes garbled, but the body's language was not. Les Écailles de la Mémoire(The Scales of Memory), a fiery collaboration between Senegal's all-male Jant-Bi and Brooklyn's Urban Bush Women, shouted, chanted, and danced about anger, pain, and love, always with an Africa-grounded sensibility.
It's more than slightly ironic that the men of Jant-Bi are more familiar to Bay Area audiences than the all-female Urban Bush Women, who have uncovered African American cultural traditions for more than 20 years. Read more »
In a humble Southwestern bar tended by a chatty waitress (Lorraine Olsen), three pairs of customers on the edge of nowhere discuss the past and future with a certain growing desperation. Coronado, though the title of the play, isn't exactly the setting. It's one of the up-and-coming towns in the area, referred to in passing as not a bad place to be something to aspire to, maybe. Read more »
A title like Tragedy: a tragedy has, you might think, promises to keep. But what exactly are they? The repetition already flags, and flogs the futility in the gesture, announcing amusingly this post-tragic age. Instead, a sardonic scene suggests itself, nothing summing up the post-tragic like the daily litany of tragic stories on the news. Read more »